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PORTRAITS OF JEWS 


ABRAHAM TOURO 


GILBERT STUART 


Owned by The Ehrich Galleries, New York 


Portraits of Jews 


BY GILBERT STUART AND OTHER 
EARLY AMERICAN ARTISTS 


BY 
HANNAH R. LONDON 
DR. A. S. W. ROSENBACH 


AND AN INTRODUCTION BY 


LAWRENCE PARK 


NEW YORK 
WILLIAM EDWIN RUDGE 


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COPYRIGHT, 1927, BY 
HANNAH R. LONDON © 

(MRS. BENJAMIN MORDECAI § 
All Rights Reserved 


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CONTENTS 


LIST OF PLATES 


AN APPRECIATION 
INTRODUCTORY NOTE 
PREFACE 


PART I. SOME MISCELLANEOUS PORTRAITS 


PORTRAITS BY UNATTRIBUTED ARTISTS, AND EXAMPLES 
BY JOHN WOLLASTON, SAMUEL KING, CHARLES WILLSON 
PEALE, REMBRANDT PEALE, WILLIAM HENRY BROWN, 
JEREMIAH THEUS, CHARLES PEALE POLK,ROBERT FEKE, 
JAMES SHARPLES, JOHN WESLEY JARVIS, AND FEVRET 
DE ST. MEMIN 


PART II. MINIATURES 


MINIATURES BY CHARLES WILLSON PEALE, BENJAMIN 
TROTT, EDWARD GREENE MALBONE, AND SOME UNAT- 
TRIBUTED MINIATURES 


PART III. THE GREAT AMERICAN MASTERS . 


PORTRAITS BY GILBERT STUART AND THOMAS SULLY 


PART IV. ADDENDA 


A RECORD OF THE PORTRAITS OF THE EARLY AMERICAN 


JEWS 
BIBLIOGRAPHY 
PLATES 
INDEX 


vil 


PAGE 


AI 


47 


1g! 


LIST OF PLATES 


Abraham Touro 

Jacob Franks 

Mrs. Jacob Franks 
David and Phila Franks 
Phila Franks 

Moses Levy 

Mrs. Isaac Mendes Seixas 
Rabbi Raphael Haijm Karigal 
Ezra Stiles 

Moses Michael Hays 
Israel Jacobs 

Jonas Phillips 

Mrs. Jonas Phillips 
Commodore Uriah P. Levy 
Judge Moses Levy 
Israel Israel 

Mrs. Israel Israel 

Mrs. Aaron Levy 

John Moss 

Manuel Josephson 

Mrs. Manuel Josephson 
Barnard Gratz 

Mrs. Barnard Gratz 
Joseph Andrews 

Mrs. Joseph Andrews 
Mordecai Manuel Noah 
Major Mordecai Myers 
Mrs. Solomon Etting 
Solomon Etting 

Mrs. Samson Levy, Sr. 
Samson Levy, Jr. 


Colonel David Salisbury Franks 


Jacob De Leon 

Isaac C. Moses 

Rachel (Gratz) Etting 
Solomon Etting 
Benjamin I. Cohen 


Gilbert Stuart . Frontispiece 
Unknown Artist 83 
Unknown Artist 85 
Unknown Artist 87 
Unknown Artist 89 
Unknown Artist. 00.404 gI 
Attributed to John Wollaston . 93 
Unknown Artist 95 
Samuel King . 97 
Unknown Artist 99 
Unknown Artist te Vers IOI 
Attributed to Charles Willson Peale 103 
Attributed to Charles Willson Peale 105 
Attributed to Thomas Buchanan Read. 107 
Rembrandt Peale . 109 
Unknown Artist III 
Unknown Artist 113 
Unknown Artist Sere Siege 2 8." 
Attributed to William Henry Brown. 115 
Jeremiah Theus 117 
Jeremiah Theus 119 
Charles Peale Polk 121 
Attributed to Robert Feke . 123 
Unknown Artist 125 
Unknown Artist 127 
John Wesley Jarvis 129 
John Wesley Jarvis 131 
John Wesley Jarvis 133 
John Wesley Jarvis. 135 
Fevret de St. Mémin . 137 
Fevret de St. Mémin . 139 
Charles Willson Peale 141 
Unknown Artist 141 
Unknown Artist 143 
Unknown Artist Aeaey 145 
Attributed to Benjamin Trott . 147 
Attributed to Benjamin Trott . 149 


1x 


Joseph Solomon 
Miriam (Etting) Myers 
Rachel Gratz 

Rebecca Gratz 

Jacob Rodriguez Rivera 
Samuel Myers 

Judah Hays 

Moses Myers 

Mrs. Moses Myers 
Colonel Isaac Franks 
Mrs. Solomon Moses 
Solomon Moses 

Mrs. Michael Gratz 
Joseph Gratz 

Rebecca Gratz 

Michael Gratz 
Gustavus A. Myers 
Fanny (Yates) Levy 
Major Alfred Mordecai 
Solomon Jacobs 

Samson Levy, Jr. 


Attributed to Benjamin Trott . 
Edward Greene Malbone . 
Edward Greene Malbone . 
Edward Greene Malbone . 


Gilbert Stuart . 
Gilbert Stuart . 
Gilbert Stuart . 
Gilbert Stuart . 
Gilbert Stuart . 
Gilbert Stuart . 
Gilbert Stuart . 
Gilbert Stuart . 
Gilbert Stuart... 
George P. A. Healy 
Thomas Sully . 
Thomas Sully . 
Thomas Sully . 
Thomas Sully . 
Thomas Sully . 
Thomas Sully . 
Thomas Sully . 


151 
153 
155 
155 
157 
159 
161 
163 
165 
167 
169 
171 
173 
175 
177 
179 
181 
183 
185 
187 
189 


AN APPRECIATION 


HE work of Mrs. Hannah London Siegel on the portraits 

of Jews in America from Colonial times is not only a most 

valuable contribution to the history of the Jews in the 
United States, but also supplies a considerable addition to our 
knowledge of early American artists. Mrs. Siegel is the first to 
treat this interesting subject in a comprehensive way. The fifty- 
eight illustrations which the author has supplied, after a laborious 
and thorough search, are invaluable. Mrs. Siegel has visited the 
descendants of Jewish Colonial families and what she has discov- 
ered is a veritable treasure trove. She has revealed to us for the first 
time portraits by eminent American artists which we did not know 
were in existence, and others of which we had record, and their 
early history, but did not know their present location. The repro- 
ductions form a veritable Jewish Colonial Gallery, and we can now 
behold the very lineaments of the early worthies who founded the 
first synagogues and charitable organizations; who fought in the 
early wars; who were active in the first explorations of the West; 
and who did so much in a patriotic sense for the country of their 
adoption. 

The reproductions consist of some of the finest work of John 
Wollaston, Samuel King, Charles Willson Peale, Rembrandt 
Peale, William Henry Brown, Jeremiah Theus, Charles Peale 
Polk, Robert Feke, James Sharples, Benjamin Trott, Fevret de 
St. Mémin, and John Wesley Jarvis. There are no less than twelve 


~oa6t 1 Bee 


PORTRAITS OF JEWS 


portraits by Gilbert Stuart listed in the text, and twenty-six by 
Thomas Sully. The exquisite miniatures painted by Edward Greene 
Malbone are also mentioned, as well as silhouettes and drawings 
by other artists. 

It is to be hoped that students will take advantage of this mine 
of new material so delightfully unearthed by Mrs. Siegel, and that 
collectors of Early American Portraits will be inspired to nobler 
efforts in the future; that a definitive work on the whole subject of 
our early Portraiture, like Lawrence Park’s on Gilbert Stuart, will 


some day be given to the world. 


A. S. W. RosENBACH. 


~aif 2 Yee 


INTRODUCTORY NOTE 


LTHOUGH something had already been done in a frag- 
mentary way to preserve a record of Colonial Jewish 
portraiture, the pages which follow are the first results 

of much deeper research in this field. They represent pioneer work 
of a peculiar interest, for in Colonial times the comparatively few 
Hebrew families along the coast were eminent in commerce and 
scholarship, men and women whose faces show great strength of 
character and often beauty of feature. They were, in fact, a picked 
racial group, usually, perhaps always, of the Spanish and Portu- 
guese strains. 

These people, as Mrs. Siegel has pointed out, encouraged artists 
by commissions, and to them Gilbert Stuart was indebted in his 
early Newport life, while in the career of Thomas Sully the Jewish 
group is a pronounced factor, including, as it does, the famous 
Gratz family of Philadelphia, by whom Stuart was also employed. 

It will be a surprise to the uninformed reader to learn that these 
Jewish families, highly respected, wealthy, and patrons of art, 
were scattered throughout the seaports of the Atlantic coast, in 
Newport, New York, Norfolk, Savannah, Charleston, and New 
Orleans. This means that from Stuart in New England to Theus 
in South Carolina most of our artists of this period are represented. 
Copley forms a rather striking exception, which I can account for 
only from the fact that the Jewish element in Boston was a neg- 


ligible one during Copley’s active life. 


---<6f 3 Heo 


PORTRAITS OF JEWS 


Without the portraits here described our art would have been 
less vivid aid picturesque, just as without these Jewish leaders 
American commerce and society would have been the poorer, while 
the history of Colonial and Early American art is much indebted 
to Mrs. Siegel for the results of her work. 


LAWRENCE PARK 


PREFACE 


HE study of the portraits of the early American Jews sug- 

gested itself to me while assisting Mr. Frank W. Bayley in 

the arrangement of an exhibition of photographs from the 
portraits of Gilbert Stuart, at the Copley Gallery in Boston, in 
the spring of 1920. Here, among the hundreds of reproductions 
hanging on the walls, was a photograph of the portrait of Samuel 
Myers, the original of which is owned by a descendant, Mrs. John 
Hill Morgan, of Brooklyn. The writer, as a matter of curiosity, 
felt impelled to discover if there were other Jews who were patrons 
of art in the days preceding the Revolution and during the period 
of the early Republic. 

As there is little published material relating to this subject, no 
pretence is made to having covered it comprehensively. In the 
main I have been dependent upon such fortuitous sources as notes 
in diaries, random passages in forgotten volumes, references from 
friend to friend, and correspondence in this country and abroad— 
London, particularly, where there are still illimitable sources for 
research. An account of these portraits was first presented in some 
papers which I read before the American Jewish Historical Society 
at Philadelphia, 1921, and in New York, 1922. The interest 
evoked at these meetings brought forth much additional infor- 
mation, which is embodied in the following pages. 

Inthe preparation of this work I am thankful in no small degree 
for the help and encouragement of many friends; to Mr. Frank 


~<a6f 5 Hom 


PORTRAITS OF JEWS 


W. Bayley, who gave generously of his time on the many occasions 
when I stepped into his gallery to chat over some new find; to Mr. 
John Hill Morgan, a busy attorney, but never too rushed to ride 
his special hobby on the field of early Americana; to the late Law- 
rence Park, with whom I had the privilege of exchanging infor- 
mation on the Stuart portraits of the Jews; to Mr. Samuel Oppen- 
heim, a careful student of early American Jewish history, for his 
painstaking efforts with the proof, and for his valuable corrections 
and suggestions; to Mr. Lee M. Friedman, Mr. Charles K. Bolton, 
Dr. Cyrus Adler, Mr. Leon Huhner, and to Dr. A. 5. W. Rosen- 
bach, in whom there was ever a listening ear and a buoyant and 
unflagging interest. My thanks are especially due to my husband, 
Benjamin Mordecai Siegel, to my sister, Bessie London Pouzzner, 
and to her husband, the late Benjamin S. Pouzzner, for reading the 
manuscript, for their helpful suggestions, and for their constant 
encouragement which inspired the furtherance of this work. And 
lastly, I am immeasurably grateful to those who have given me 
biographical data and the permission to illustrate from their pre- 
cious portraits. 

Some of my articles on this subject, together with illustrations, 
have appeared in the following publications: American Jewish 
Year Book, volume 25, 1923-1924; The Menorah Journal, Feb- 
ruary, 1925; Daughters of the American Revolution Magazime, 
February, April and December, 1926. 


CAMBRIDGE, June, 1926 


—«<if 6 eon 


I 
SOME MISCELLANEOUS PORTRAITS 


MONG the earliest examples of portraiture in this country 
are those of a number of Jewish settlers who came here 
from Portugal, Holland, Germany and England in the 

decades preceding the Revolution. The fact that they have been 
unknown and withheld for so many years from general knowledge 
is not perhaps as strange as it might seem. For, in the first place, the 
little band of Newport Jews who came to America, like the Puri- 
tans, to escape persecution, and who found here a haven, carried 
with them an instinctive desire to shield their private lives from the 
public glare and calumny to which they had been so pitilessly ex- 
posed in their previous abodes. Relatively few in numbers, they 
became, as time went on and events hurried on one another with 
dramatic intensity, so completely identified with the life of their 
time that there did not seem to be a need of making separate note 
of their lives or portraits. As some of these families have died out, 
however, in the course of years, and as others have become disin- 
tegrated or lost sight of through intermarriage, it seemed a pity not 
to make permanent record, before it was too late, of these early 
Jews who from the beginning played a significant part in the his- 
tory of this country, who by their patronage and innate love of 
beauty fostered the growth of American art and whose portraits 
are among the most treasured possessions of their Jewish and Chris- 
tian descendants. i 


It is, moreover, only within the last generation that there has 


-a6f 7 Heo 


PORTRAITS OF JEWS 


been a revival of early Americana sufficient to attract general at- 
tention. In this revival public interest has been quickened by the 
numerous exhibitions which have been held from time to time, 
including a wide range of artists, from Copley to Stuart, from 
Smibert to Sully. Many of the artists represented in this group 
painted the portraits of contemporary Jews. It is much to be 
lamented, however, that as yet I have not discovered a portrait of 
an American Jew by Copley. While in England in the spring of 
1921, I happened on a portrait of Dr. Samuel de Falk, a Rabbi, 
which Copley painted on his return to England at the outbreak 
of the Revolution. If Copley found a patron in him, it is not 
~ unreasonable to infer that he may have painted portraits of other 
Jews living in England at that time, including those who returned 
to England with the not inconsiderable number of loyalists who 
left the colonies at the outbreak of the Revolution. 

The collection of the Hon. N. Taylor Phillips, of New York, 
contains a number of the earliest examples of Jewish portraiture in 
this country, for the most part unattributed. One of these is the 
portrait of Jacob Franks, who was born in London in 1688. It 
is probable that he accompanied Moses Levy to New York about 
1695. He later married Levy’s daughter, Bilhah Abigail. Franks 
was a prominent merchant and became a freeman of the city of 
New York, August 21, 1711. His intellectual interests were not 
a few. He was a master of many languages, a fluent writer, and 
learned in the Jewish law. He had the degree of Rabbi of Di- 
vinity, and was known in the Congregation Shearith Israel by the 
title of Rabbi. Upon the erection of a new synagogue to take 
the place of the old frame building on Mill Street, the oldest place 
of Jewish worship in New York, he superintended all the details 


ait 8 foe 


MISCELLANEOUS PORTRAITS 


of the construction of the building and assisted in raising funds. 
He also gave generously to other denominations, and among these 
gifts was a contribution to build the steeple of Trinity Church, 
New York. At his death on January 16, 1769, the Pennsylvania 
Gazette of January 26, 1769, gave out the following notice: 


Last Monday morning died at an advanced age, Mr. Jacob 
Franks, for many years an eminent merchant of this city. A gentle- 
man of most amiable character; in his family a tender and kind 
master; as a merchant upright and punctual in all his dealings; as 
a citizen humane and benevolent, a friend to the poor of all de- 
nominations; affable and friendly in his behaviour to all. He isnow 
gone to receive from the supreme God whom he adored his reward 
among the faithful. The memorial of the righteous is blessed. On 
Tuesday his remains were decently interred in the Jews’ burying 
place, attended by a great number of friends. 


Franks was buried in the cemetery of the Shearith Israel Con- 
gregation on New Bowery, New York. 

His portrait is life-size and full length. Standing, he is turned 
three-quarters toward his right, with his face almost front. His 
right hand, palm upward, and with index finger well extended, 
rests on a pedestal, while his left hand rests upon a table draped in 
large folds of red and blue, which fall from the curtain in the left 
background. His ruddy complexion is offset by a powdered wig 
and a white neckcloth, folded over under the chin. His brown col- 
larless coat has long sleeves and deep cuffs topped off with buttons. 
At his wrists appear the white muslin puffs of his undersleeves. In 
spite of its austerity, and its naiveté of treatment, the portrait has 
a dignity and calm characteristic of many of the attempts of early 
American painters. 


“it 9 fee 


PORTRAITS OF JEWS 


Mr. Phillips owns a very charming portrait of Bilhah Abigail 
Franks, the wife of Jacob Franks, and daughter of Moses Levy. 
She is seated, turned slightly toward her left, in a life-size portrait 
with her dark brown eyes facing front. She wears a gayly colored 
blue dress with a voluminous skirt. Her bodice, cut low at the 
neck, is held together at the breast and over the shoulders by or- 
namental clasps, and reveals an underblouse of white silk with 
elbow-length sleeves. Her right hand rests on her lap, and her left 
elbow rests on a table, draped in red, with the hand hanging. The 
face is soft and gracious. Her dark hair, brought tight behind the 
ears, is parted in the middle, with a curl quaintly tossed over her 
left shoulder. At the left of the canvas are clustering trees with 
sky and clouds overhead. 

Mrs. Franks worked zealously with her husband in behalf of 
their communal and religious interests, and helped him to secure 
funds for the erection of the synagogue by enlisting the services of 
the ladies of the congregation. Under her direction every Jewess 
in New York contributed; where money was not available, trinkets 
and jewelry which could be converted were received. The syna- 
gogue was finally dedicated in 1730. 

Mrs. Franks’ devotion has not been forgotten. Her work is 
recognized by a separate prayer, recited in her memory—now for 
two hundred years—by the Shearith Israel Congregation, on the 
anniversary of the consecration of the synagogue, on the Day of 
Atonement, and on the anniversary of her death. 

Their son and daughter, David and Phila Franks, are also rep- 
resented in two sets of portraits painted when they were children. © 

In the painting which has been photographed, David is shown 
standing full length, turned toward his right, and with his eyes 


~-28f 10 Be 


MISCELLANEOUS PORTRAITS 


directed to the spectator. He wears a collarless blue broadcloth 
coat with wide cuffs and breeches, and a long full skirted waistcoat 
with small buttons. About his throat is a white neckcloth with a 
white muslin shirt ruffle. His right hand rests on his hip, while a 
bird, jaunty and defiant, perches on the index finger of his left hand. 
The pallor of his face is enhanced by the dark hair which falls 
easily about his head. His sister, Phila, sits beside him. Though 
only two years his junior, the artist indicates a greater disparity of 
age. She wears a little white dress, cut low at the neck, and with 
full elbow sleeves, over which a red scarf, probably a studio prop- 
erty, is carelessly thrown. Her legs are crossed and from under her 
dress slightly extends a little bare foot. Her rather cheery expres- 
sion indicates her pleasure in being painted together with her older 
brother. The background is a neutral wall with an opening at the 
right showing the trunks of high trees, topped with foliage, and 
woods in the distance. 

The other painting of David and Phila shows David standing 
with his right hand on his hip and wearing the same costume as 
above. Phila wears a red dress and holds a lamb in her lap while 
extending a rose to her brother. 

There is another painting of Phila as a young lady in a life-size 
portrait, sitting, and turned slightly toward the right while facing 
front. A red scarf is thrown over the right shoulder of her blue 
dress, and held in place by her left arm, rests upon her lap. A 
loose-fitting bodice shows the soft rufHles of her chemisette at the 
neck and elbows. Piquant, yet demure, is Phila’s appearance with 
her dark hair parted in the middle, and a curl quaintly tossed over ~ 
each shoulder, and holding in the crook of her elbow a basket of 
flowers, lightly supported by her left hand. The landscape back- 


meat 11 Be 


PORTRAITS OF JEWS 


ground is rather elaborate, showing large trees to the left and a 
low garden wall silhouetted against some clustering cedars. 

David and Phila were constantly in the society of the well- 
known people of their day, and although their parents were devout 
Jews, they married outside of their faith. 

Phila, born in 1722 in New York City, became the wife of 
Oliver De Lancey, who was born in New York in1717. He was the 
eldest son of Stephen De Lancey and Ann Van Cortlandt. At the 
outbreak of the Revolution he adhered to the Crown, raised a 
corps of provincials called the De Lancey Battalions, and was ap- 
pointed Brigadier-General. Their home, now known as a public 
house—Fraunces ‘Tavern—still stands on Broad and Pearl Streets, 
New York City. Some notable events took place in that house. 
There the New York Chamber of Commerce was founded in 
1768, and after the Revolution, it was the scene of General Wash- 
ington’s celebrated Farewell Address. 

By the act of 1779, General De Lancey’s property was confis- 
cated, and his family journeyed to England, where they remained. 
General De Lancey died at Beverly, October 27, 1785, and was 
buried in the choir of the cathedral of that place. It is not known 
when Phila died, but it is believed that she survived him. Their 
children married very distinguished people in England, as we 
shall see in the following letter written to me by Mrs. Charles 
Rieman, of Baltimore, who is a direct descendant of Phila’s aunt, 
Rachel Levy: 


A daughter, Susan, of General and Mrs. De Lancey, married 
Lieutenant-General Sir William Draper, of the British Army. The 
second daughter, Charlotte, married Field Marshall Sir David 
Mendes, Commander-in-Chief of the British Army. The third 


~a6t 12. Yo 


MISCELLANEOUS PORTRAITS 


daughter married Colonel John Harris Cruger. The eldest son was 
Stephen De Lancey. He was Lieutenant-Colonel of one of the 
three regiments known as the De Lancey Battalions, and after the 
Revolution was successively the Crown’s Chief Justice of the 
Bahamas, and Royal Governor of Tabago. Stephen De Lancey 
had a most distinguished son, Sir William Howe De Lancey, 
K.C.B., the “Great Duke’s”” Quartermaster General at Waterloo, 
1815. The second son of Phila and General DeLancey was 
Oliver, Jr., Lieutenant-General in the British Army and Member 
of Parliament in 1796. With him ended the male branch of the 
De Lancey family. 


Among the descendants of the De Lancey family in England, 
some interesting portraits are doubtless to be found; perhaps 
another painting of Phila, and also portraits of Jewish friends she 
must have known in England, who, like herself, went back to the 
mother country because of the Revolution. 

David Franks, Phila’s brother, as I previously mentioned, was 
painted twice with his sister. He was born in 1720 and married 
Margaret Evans in 1743. David organized a military company in 
New York City about 1745. He later removed to Philadelphia, 
where he was one of the most prominent members of Philadelphia 
society. His home was the Logan mansion, a handsome residence 
in that city. In 1755 he aided in an effort to raise funds, after 
Braddock’s defeat, and in the following year became a mem- 
ber of the Independent Troop of Horse of Philadelphia. He was 
a signer of the Non-Importation Agreement of 1765, but subse- 
quently turned loyalist, became the king’s agent, and later, like 
his sister, Phila, removed to England. There he remained for some 
time after the Revolution, when he returned to Philadelphia, 
where he resided until his death in 1793. It is very probable that 


—-<6f I 3 fee 


PORTRAITS OF JEWS 


such a prominent man as David Franks had his portrait painted 
again in later life. His distinguished progeny should not pass with- 
out notice, for among their descendants are people whose names 
are well-known in American life. 

A daughter, Abigail, born in 1744, married Andrew Hamilton, 
January 6, 1768. He was at one time Attorney-General of the 
State of Pennsylvania, and the grandson of the Andrew Hamilton 
whose able and brilliant defence of the liberty of the press, in the 
John Peter Zenger trial in New York, made proverbial the ability 
of the Philadelphia lawyer. Although the Hamilton name has 
disappeared from Philadelphia life, the family is still represented 
by the descendants of Mrs. James Lyle, David Franks’ grand- 
daughter, under the names of Morris, Kuhn, Evans, and Mahan 
in America, and in England by Becketts, Bruces, and Whichotes.° 

Mary (“Polly”) Franks, the second daughter of David Franks, 
was born in 1748, and died in 1774, in the prime of her life. 
She was buried in the Christ Church burying ground, in Phila- 
delphia. 

Rebecca Franks, another daughter, born in 1758, was a most 
brilliant woman, and her literary ability and great charm and wit 
made her one of the shining lights in the brilliant salons of Colo- 
nial Philadelphia. Her career has been ably sketched by Mrs. 
E. F. Ellet, in her “Women of the Revolution,” and by Anne 
Hollingsworth Wharton, in ‘Through Colonial Doorways.” 

Of Rebecca Franks, Miss Wharton says: “She was a reigning 
belle during the British occupation of Philadelphia, when General 
Howe was in the habit of tying his horse before David Franks’ 
house and going in to have a chat with the ladies and possibly to 


1. See Anne Hollingsworth Wharton, in “Salons Colonial and Republican.” 


~oa6t 14 Bee 


MISCELLANEOUS PORTRAITS 


enjoy a laugh at some of Miss Rebecca’s spirited sallies. Although 
the beautiful Jewess shared the honors of belledom with fair Wil- 
lings and Shippens, no one seems to have disputed her title to be 
considered the wit of her day among womankind.” 

She was one of the Queens of Beauty at the Meschianza, a 
splendid féte, given in honor of General Howe before leaving 
Philadelphia in 1778, and arranged by the ill-fated Major André. 
Like so many of the Colonial aristocracy, she took the king’s side 
in the Revolutionary struggle. Her grandfather had been the 
British king’s sole agent for the Northern colonies, and her father 
was the king’s agent for Pennsylvania. She married Lieutenant- 
Colonel Henry Johnson, the British officer who was surprised by 
Wayne at Stony Point. They later removed to Bath, England, 
where her husband inherited his father’s estate and baronetcy, and 
attained the rank of General. Many distinguished Americans vis- 
ited Rebecca Franks there, among them General Winfield Scott, 
who wrote about her in his autobiography. She died in 1823, and 
her descendants today are English peers. A handsome portrait 
has been painted of her by an English artist, and is reproduced in 
a very interesting pamphlet on “The Jewish Woman in America,” 
by Leon Huhner, A.M., LL.B., who has devoted much time to 
early American Jewish oe 

David Franks also had two sons, Moses and Jacob, both anes in 
England in 1781. 

The Levy family, connected with the Franks family through 
marriage, is also represented in the collection of the Hon. N. 
Taylor Phillips. Here is a portrait of Moses Levy, the great- 
grandfather of Rebecca Franks. 

He is shown in a full-length and life-size portrait turned to his 


~oaf 15 eo 


PORTRAITS OF JEWS 


left and facing front. He wearsa red collarless coat and white wig. 
A muslin neckcloth is folded under his double chin, and the white 
puffs of his undersleeves show at his wrists. His right hand rests 
on a table, draped in blue, and his left hand, carried down by his 
side, is held out with the thumb and index finger well extended. 
There is a patriarchal dignity about him, with his florid com- 
plexion, bold yet regular features, and high forehead. At his feet 
rests his dog, and in the background is seen a sailing vessel calmly 
adrift on the deep, with clouds and sky above. 

Moses Levy, the son of Isaac Levy, came to New York from 
England about 1695." He was married twice, his first wife being 
Rycha Ascher, and his second wife Grace Mears. He died in New 
York, June 14, 1728. Thomas Sully, as we shall see later, painted 
a number of portraits of the descendants of this family, several of 
which are in the possession of Mrs. Robert Hale Bancroft, of 
Boston. 

From the general treatment of painting, it is not unlikely that 
Moses Levy’s portrait and that of Jacob Franks were painted by 
the same artist. However, all of these unattributed portraits, of 
the Franks and Levy families, according to Mr. Lawrence Park, 
were painted by Dutch artists in New York. Pieter Vanderlyn was 
painting pictures there at that time, and it is possible that some of 
these were painted by him. Another remote possibility is that they 
were painted by Jacobus Gerritsen Strycker. 

A portrait in the Phillips collection attributed to John Wollas- 
ton by Mr. Lawrence Park is that of Rachel Levy, another daugh- 
ter of Moses Levy. Rachel was the grandmother of Mr. Phillips’ 

1. Although tradition ascribes Moses Levy’s birthplace to Spain, this is doubtless incor- 
rect. It is much more probable that the family originally moved to London from Germany 
or Holland. 

—-<6f 16 fe 


MISCELLANEOUS PORTRAITS 


grandmother. She is represented in a life-size painting to the waist, 
turned to her right and facing the spectator. She wears an ex- 
quisite ivory-white satin gown. The tight-fitting bodice is trimmed 
with wide lace, very delicately rendered. The short sleeves with 
bands of satin at the elbow are finished with wide white lace. Her 
dark hair, over which a dainty lace cap is worn, is brushed back 
from her forehead and worn low at the neck. Her portrait, Mr. 
Phillips says, has often been greatly admired for its beauty. 

This painting, so long unattributed before Mr. Lawrence Park 
ascribed it to John Wollaston, is of special interest, for Wollaston’s 
portraits, considered good in their time (it has been said that they 
were painted with a “very pretty taste”) still merit considerable 
praise. Wollaston came from England to visit the colonies about 
1772 and painted chiefly in Virginia and Maryland, where many 
of his paintings can be seen today proudly displayed in the homes 
of the descendants of the early settlers. 

Rachel married Isaac Mendes Seixas, who was born in Lisbon, 
Portugal, in 1708. He arrived in New York City about the year 
1730, when he entered into business. He went with his family to 
Newport, Rhode Island, about 1765, and resided there until his 
death, November 3, 1780. Rachel removed to New York City 
some time after her husband’s death, where she died May 12,1797. 

One of her sons, Moses, married Jochabed, daughter of Benja- 
min and Judith Levy of Newport, Rhode Island, October 3, 1770. 
Moses was the founder of the Bank of Rhode Island. He was a 
highly respected member of the community of Jews at Newport, 
and was Grand Master of the Grand Lodge of Masons of the 
State of Rhode Island. His death occurred at a visit to his son-in- 
law, Mr. Naphtali Phillips, of New York, of whom there is a 


—-<6f 17 Hee 


PORTRAITS OF JEWS 


portrait by James Herring in the Phillips collection. After Moses 
Seixas’ death, the bank, which was in his house, continued to stand 
there until 1818, when it was moved. The Seixas house was after- 
wards occupied by Commodore Oliver H. Perry, hero of the battle 
of Lake Erie. 

Gershom Mendes Seixas, another of Rachel Levy’s sons, was 
born in New York, January 14, 1745, where he married Miss 
Elkaly Cohen, September 6, 1775. He evinced a disposition for 
services in the synagogue, and from 1780-1784 was Minister of 
the Mikve Israel Synagogue in Philadelphia. When he returned to 
New York, he served as trustee of Columbia College from 1787— 
1815. Gershom was a serious and ardent patriot, and in 1789 par- 
ticipated with thirteen other clergymen in the inauguration of 
President Washington. 

There is a reproduction from a bas-relief, by an unknown artist, 
of Gershom Mendes Seixas, in a very interesting historical sketch 
of the Congregation Mikve Israel by Dr. A. S. W. Rosenbach. 

Benjamin Mendes Seixas, the third son of Rachel and Isaac 
Seixas, married Zipporah Levy, daughter of Mr. Hayman Levy. 
Her portrait by an unknown artist is also in the Phillips collection. 

The Franks and Levy families cover a period of over two hun- 
dred years. No names in American Jewish history are more influ- 
ential or important. A great number of the present Congregation 
of the Shearith Israel in New York trace their ancestorship to 
these distinguished families, and the majority of the worshippers 
of the Mikve Israel Synagogue in Philadelphia are also descended 
from these families. Much credit for the facts surrounding the 
lives of these notable families and for the preservation of their 
portraits is due to the Hon. N. Taylor Phillips. 


~<a I 8 fee 


MISCELLANEOUS PORTRAITS 


There has often been expressed a doubt as to the possibility of 
giving authentic attribution to these early American portraits. It 
is, however, from this very search for identifications that a great 
deal of the pleasure and fascination associated with them is de- 
rived. Generally a few well-known methods are employed for 
making scientific attributions. Primarily, of course, a good portrait 
reproduces the features, the essential characteristics, and conveys 
something of the personality of the sitter. Within this general 
definition, however, may be included infinite variations, due not 
only to the idiosyncrasies of the sitter, but to the limitations and 
personality of the artist. It is, of course, the aim of every artist to 
make his portrait not only interesting to look upon, but true to 
reality, producing with fidelity such salient traits as the nose, 
mouth, chin, and eyes. The more subtle features, however, the 
curl of the hair, a turn to the eye, a finger, the contour of the hand, 
the drapery, color, atmosphere, studio property, often escape the 
eye of the layman, but constitute for the student the indices by 
which artists reveal their own identity. 

Thus many an artist hitherto unknown has been revealed by a 
predilection for some special trait which he imparts to all his 
work, consciously or because he cannot paint in any other way. 
The Stuart flesh tints, the gorgeous tactile values of Copley, the 
almond-eyed beauties of Wollaston are recognized at once. When 
the trained eye knows these subtleties from constant association 
with a number of portraits by the same artist, the authorship of a 
portrait comes sometimes in a flash—unthinkingly. 

Among the unattributed paintings of this early period is a por- 
trait of Rabbi Karigal, 1733-1778, the friend of Ezra Stiles, 
1727-1795, President of Yale College. The picture is owned by a 


~-a6f 19 Yeo 


PORTRAITS OF JEWS 


great-grandson of President Stiles) Mr. MacGregor Jenkins, of 
Boston. The Rabbi taught Doctor Stiles Hebrew and Sanscrit in 
exchange for lessons in English, and according to Mr. Jenkins there 
is a tradition that he came to this country at the invitation of Ezra 
Stiles. Abiel Holmes’ “Life of Ezra Stiles,” published in 1789, 
refers to the friendship and intimacy which existed between the 
two men. Doctor Stiles, we learn, frequently attended worship at 
the Newport synagogue where Karigal preached, and was very 
curious to know the history of this picturesque group whose de- 
scendants were already imprinting their culture in this new 
country. 

A photograph hardly does justice to this beautiful old portrait 
of a Rabbi with his left hand holding a book, and his right hand 
pointing upwards with admonitory finger, which Mr. Jenkins said 
often hushed the children of his household into silence and obe- 
dience. From under his high fur turban the Rabbi looks at us with 
an air of wise benevolence and with an unmistakable gleam of 
Jewish wit. He wears an outer garment of deep red or terra cotta, 
and a white cravat. His beard is long and black and his upper lip 
partly shaven. The upper right hand corner of the canvas bears 
this inscription: 

Rabbi Raphael Haijm Karigal 
Born at Hebron, educated there and at Jerusalem and died 
at Barcelona 


Aetat 
MDCCLAIT 1772 


When Mr. Jenkins gave me the Karigal photograph, he also 
gave me a copy of the Stiles portrait, which is assumed to have 
been given in exchange for that of the Rabbi, and expressed the 


~-a6f 20 Ye 


MISCELLANEOUS PORTRAITS 


hope that a study of the technique of these portraits would reveal 
their authorship. The technique of the two pictures is quite at 
variance, and the Karigal portrait is still unattributed, but shortly 
after my conversation with Mr. Jenkins, in reading the diary of 
Ezra Stiles, I came upon the following passage dated August 1, 
1771, which gives the attribution of the Stiles portrait to Samuel 
King: 

Mr. King finished my picture. He began it last year, but went 
over the face again now and added Emblems, etc. The pice is made 
up thus. The effigy is in a green elbow chair in a teaching attitude, 
with the right hand on the breast and the left holding a teaching 
Bible. Behind and on the left side is a part of a library, two shelves 
of books. A folio with Latin and Hebrew works, also the History 
of China. By these I denote my taste for history. At my right hand 
stands a pillar. These emblems are more descriptive of my mind 
than the effigies of my face. 

Among the many portraits of past Grand Masters of Masonry 
hanging in the large assembly hall of the Boston Masonic Temple 
is that of a handsome middle-aged gray-haired gentleman. It is 
the portrait of the father of Judah Hays, Moses Michael Hays, 
who was born in New York in 1738. He settled in Newport and 
established himself later in business in Boston, where he died 
May 9, 1805. The Columbian Centinel, published in Boston at 
that time, contained the following typical eighteenth century 
obituary: 

In the character of the deceased there is much worthy of our 
admiration, much for our imitation. Possessed by nature of a strong 
intellect, there was a vigor in his conceptions of men and things 
which gave a seeming asperity to his conversation, which was ever 


frank and lucid. He walked abroad fearing no man, but loving all. 
Under his roof dwelt hospitality; it was an asylum of friendship, 


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PORTRAITS OF JEWS 


the mansion of peace. He was without guile, despising hypocrisy, 
as he despised meanness. ‘Take him for all in all, he was a Man. 

The portrait, which is a copy from the original, still remains 
unattributed. 

Another unattributed portrait is that of Israel Jacobs, 1714— 
1810, which shows a very interesting head with a rather striking 
resemblance to-Benjamin Franklin. Jacobs was a member of the 
Pennsylvania Assembly in 1771, and of the United States Con- 
gress, 1791-1793. Despite his high political connections, he was 
a man of rather ordinary attainments by comparison with his wife, 
Zippora Nunez Machado, who was a woman of great beauty and a 
linguist among other accomplishments. Her first husband was the 
Rev. David Mendes Machado. There is a portrait of a daughter 
by her first marriage, Rebecca Machado, the wife of Jonas Phil- 
lips. Mrs. Phillips’ portrait, life-size, is painted in a sitting posi- 
tion with her shapely arms resting lightly on her lap. A black lace 
scarf is worn over her bodice, which is filled in at the neck with 
folds of white muslin, and short black curls are clustered in regular 
fashion under her smart lace cap. 

The portrait of her husband, Jonas Phillips, shows an aristo- 
cratic white-haired man of portly mien, wearing a collared brown 
coat, a buff waistcoat, a white stock collar, with bow, and a ruffled 
shirt. ‘These portraits of Jonas Phillips and his wife have been at- 
tributed by Mr. Frank W. Bayley to Charles Willson Peale, who 
was born in Maryland in 1741. In 1768 he studied with Benjamin 
West in London, and on his return established himself in Phila- 
delphia. In 1772 he painted, at Mount Vernon, the earliest por- 
trait of Washington in existence. According to his son, Rembrandt, 
he painted fourteen portraits of Washington from life. Charles 


—-26f 2.2 Beem 


MISCELLANEOUS PORTRAITS 


Willson Peale died in Philadelphia, February 22, 1827. The por- 
trait of Jonas Phillips and a copy of his wife’s portrait are in the 
possession of the American Jewish Historical Society, while the 
original portrait of Mrs. Phillips is in the possession of Mr. Isaac 
Graff of New York. 

Phillips, the first of his distinguished family to settle in Amer- 
ica, came from Germany, where he was born in 1736. Among 
other things he was a signer in 1770 of resolutions relating to Non- 
Importation, was in the Revolutionary Army, and was a founder 
of the Mikve Israel Congregation in Philadelphia. He died in 
that city, January 29, 1803. His widow survived until 1831, and 
among their numerous progeny of twenty-one children, a number 
achieved great prominence as lawyers, actors, playwrights, and 
journalists. A daughter, Rachel Phillips, was the mother of Com- 
modore Uriah P. Levy, who brought about the abolition of cor- 
poral punishment in the United States Navy. 

Uriah P. Levy was born in Philadelphia, April 22,1792. Pro- 
moted from cabin boy to the rank of Commodore, he was, at the 
time of his death in 1862, the highest ranking officer in the United 
States Navy. He served in the War of 1812, and in recognition of 
his valuable services to the nation was voted the freedom of the 
city of New York. Levy was a great admirer of Thomas Jefferson, 
and the famous bronze statue of the latter, in the Capitol at Wash- 
ington, modelled by David d’ Angers, the French sculptor, is the 
gift of Levy to the United States Government. This was a unique 
gift, as all other works of art in the possession of the government 
had been paid for by Congress or State Legislatures. The beau- 
tifully wrought sculpture, symbolizing American liberty, repre- 
sents Jefferson as just having signed the Declaration of Indepen- 


~-<6f 23 feo 


PORTRAITS OF JEWS 


dence. Nor was this the only instance in which Levy showed his 
appreciation of Jefferson. When Jefferson died, Levy purchased 
his large estate in Monticello, Virginia. The erection of this estate 
began in 1764. The road still leads up grade to Monticello all the 
way from Charlottesville. Here was hauled the timber to be fash- 
ioned on the spot; the nails were wrought in a forge constructed 
nearby, and artisans came from Europe to supervise operations. 
The result was an imposing structure surmounted by a dome. 
Within were spacious rooms with floors inlaid of satinwood and 
rosewood. Especially beautiful was the living room, with its open 
fireplace, and balustraded gallery, which has often been praised in 
superlative terms. ‘This historic home Commodore Levy left, upon 
his death, in March, 1862, to the people of the United States for 
the maintenance of an agricultural school for the children of de- 
ceased warrant-oflicers of the United States Navy. The legality of 
the bequest was disputed, and the property reverted to Levy’s heirs. 

However, Commodore Levy’s original wish that Monticello 
remain a national shrine has been fulfilled, Within recent years the 
Thomas Jefferson Memorial Foundation purchased the mansion 
from Jefferson M. Levy, owner of the estate, and restored it to 
almost the precise condition as when occupied by Jefferson. 

Uriah P. Levy’s portrait still rightfully hangs in Monticello, 
where it has been for over fifty years. I am indebted to Mr. Theo- 
dore Fred Kuper, of the Thomas Jefferson Memorial Foundation, 
for the photograph of this splendid portrait. Mr. Frank W. Bayley 
attributes the portrait to Thomas Buchanan Read, 1822-1872, 
famous for his painting of “Sheridan’s Ride,” and for the many 
portraits he painted of men who fought in the War of 1812 and 
in the Mexican War. } 


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MISCELLANEOUS PORTRAITS 


Charles Willson Peale, who, it is supposed, painted the portraits 
of Mr. and Mrs, Jonas Phillips, imparted the gift for art to his 
sons. In the work of Rembrandt, the second son, is the portrait of 
Judge Moses Levy, who was born in Philadelphia in 1758. He 
was the son of Samson Levy, an ardent patriot and signer of the 
Non-Importation Agreement in 1765. Moses Levy entered the 
University of Pennsylvania in 1772, and was admitted to the Bar 
in Philadelphia in 1778. He was Recorder of Philadelphia from 
1802-1822. In 1822 he became Presiding Judge of the District 
Court of Philadelphia, in which office he continued until 1825. It 
is probable that it was he who had been considered by Jefferson for 
the office of Attorney-General of the United States. Levy also had 
the distinction of being one of the trustees of the University of 
Pennsylvania, from 1802 to the time of his death in 1826. He 
married Mary Pearce, 1763-1850, whose portrait, also painted by 
Rembrandt Peale, hangs with his own in the home of his great- 
grandson, Mr. J. J. Milligan of Baltimore. 

Levy’s portrait shows him in a sitting position with his left arm 
resting on his chair. He wears a dark blue coat and ruffled shirt, 
which, with his silvery colored hair, is in pleasing contrast to his 
dark brown eyes. The background, revealing a curtain, is in tones 
of brown. Mrs. Levy, dressed in black satin, wears a white lace 
veil over her powdered hair, long loose white gloves, and a ker- 
chief about her neck. A large brown turkey-feathered fan, held in 
her hand, quaintly decorates the portrait. 

The Peale family ranks with the foremost in its contributions to 
portraiture in this country. Rembrandt Peale’s fame rests on his 
portrait of Washington, which he painted at the age of seventeen. 
He then went to England to study under Benjamin West and, 


~oa6t 25 Yeo 


PORTRAITS OF JEWS 


when he returned, painted portraits in New York, Philadelphia, 
and the South. Subsequently he went to Italy, taking with him his 
portrait of Washington, which brought him great distinction. He 
was President of the American Academy, in succession to Trum- 
bull, and was one of the charter members of the National Academy 
of Design. He died in Philadelphia, October 3, 1860. 

When I received the portraits of Mr. and Mrs. Israel Israel, 
from Mr. Arthur G. Ellet, of Kansas City, the late Lawrence Park 
had already passed away, and I was, therefore, unable to avail 
myself of his expert opinion as to the identity of the artists who 
painted these two portraits. Both are life-size and in oil. The 
Israel Israels were also prominent in Philadelphia. 

Mr. Israel is represented well advanced in years, in a sitting 
position, wearing a dark blue coat and holding a document dated 
1793 in his left hand. Particularly noticeable are the large brown 
eyes, the drooping lids, the shaggy eyebrows, the right one being 
slightly arched, and the gray silky hair which surmounts his well- 
modelled, markedly Jewish features. 

Family tradition, according to Mr. Ellet, attributes the portrait 
to Benjamin West. While traditions are interesting, they are not 
wholly reliable. Benjamin West could hardly have painted this 
portrait, because there are no resemblances to his mannerisms. 
Besides, West was born in 1753, and at the age of twenty-one, in 
1774, embarked for Europe, and never returned. Mr. Israel was 
born in 1743, and at the date of West’s sailing was only thirty-one 
years of age. As the picture portrays Israel in his late maturity, it 
seems conclusive enough that the painting must have been made by 
some other artist. It is a very good portrait, however, and it is 
hoped that the future will reveal its authorship. 


—-9f 26 feo 


MISCELLANEOUS PORTRAITS 


The portrait of Mrs. Israel (Hannah Erwin), obviously painted 
by another artist, also remains without attribution. She is pictured 
in a sitting position, holding a book in her right hand and facing 
the spectator. A decorative scarf and dainty muslin cap offset the 
Quaker-like simplicity of her dress, and her clear blue eyes and 
brown hair relieve the austerity of her expression. 

The Israels are also represented in two very lovely pastels, rich 
and delicate in coloring, which hang, with their original frames, 
in the home of Mrs. James Alden Valentine, of East Walpole, 
Massachusetts. These portraits, also unattributed, portray the 
Israels in their earlier years. 

Mrs. Valentine is the great-granddaughter of Israel Israel, and 
from her and her very gracious mother, Mrs. Elvira Augusta 
Ellet Kendall, I gathered information about the Israels hitherto 
unpublished. 

Mrs. Israel was born in Wilmington, Delaware, of a Quaker 
family. Israel Israel, a native of Pennsylvania, was the son of 
Michael Israel, a Jew, and Mary J. Paxton, a member of the 
Episcopal Church. 

When Israel Israel was twenty-one years old, he left America 
for the Barbadoes and, within ten years, amassed a considerable 
fortune and returned to his native country, where he married Miss 
Erwin in 1775. Mrs. Valentine showed me the marriage certifi- 
cate, which was carefully wrapped with a portion of a very old 
parchment scroll of the Book of Esther written in Hebrew. 

The patriotism of the Israels during the Revolution, their hard- 
ships and heroic deeds are interestingly recorded in Elizabeth F. 
Ellet’s “Women of the Revolution.” 

In 1800 Mr. Israel became High-Sheriff of Philadelphia, which 


—<6f 27 feo 


PORTRAITS OF JEWS 


office he held for three years, and was also Grand Master of the 
Masonic Order in Pennsylvania in 1802 and in 1804. Another 
portrait of Israel Israel hangs in the Grand Master’s Room in the 
Masonic Temple in Philadelphia. He died in 1821. Mrs, Israel 
passed away at the age of fifty-six at their country place near 
Philadelphia in 1813. 

They reared a large and prominent family. Their daughter, 
Mary, married Charles Ellet, and from this union sprang the great 
Ellet family of the Mississippi Ram Fleet and Marine Brigade, 
which attained fame during the Civil War. Charles Ellet, Jr., 
their son, was particularly well-known for his daring engineering 
feats. His daughter, Mary Virginia Ellet, who is now Mrs. 
Cabell, was for a great many years President Presiding of the 
Daughters of the American Revolution. She is a cousin of 
ex-Secretary of the Navy Josephus Daniels and of U. S. Senator 
John Daniels of Virginia. 

Mrs. Valentine has inherited a number of valuable things from 
the Israel Israel home. Among them, a large set of Royal Sevres 
china, some old dinner knives of Damascus steel, an I. Anthony 
coffee pot, and a number of solid silver pieces, including tea pots, 
a creamer, and a beautiful bowl, marked “F. W.” She also owns 
three of the silver coat buttons worn by Israel Israel, and the black 
lace shawl which Mrs. Israel wears in the pastel painting. A most 
unusual piece of furniture from the Israel family finds its resting 
place in Mrs. Valentine’s home. It is a mahogany sewing table, 
easily converted into a writing desk, with two pockets, one on 
each side, and supported by white mahogany spindles alternating 
with black. Mr. Israel gave a handsome clock to his wife in 1775, 


<i 28 fe 


MISCELLANEOUS PORTRAITS 


which Mary, the daughter, inherited, and which was later pre- 
sented by her to the Historical Society of Pennsylvania. 

Of all the mementos that came down to Mrs. Valentine from 
Israel Israel, the most notable and most interesting was a letter 
written by the Reverend Henry Muhlenberg to Mr. Israel, dated 
March 31, 1784. 

This letter, written in the quaint bold script of that day, and of 
which I made an exact copy, reads as follows: 


Dear Mr. IsRaEL | 

I received your Favor by the Rev’ Mr. Wade and complying 
with your Request, found in our Church Records, that by Holy 
Baptism you were adopted and made a child of God and an Inheri- 
tor of the Kingdom of Heaven, on the 13tt Day of June Anno 
Domini 1746; done upon serious Petitioning of your tender loving 
Mother, on whose Breast you lay yet and were about a year old. 
Your Father professed to be a Jew outwardly and your Mother a 
well meaning Christian and Member of the English Church. She 
lived in Friendship with several families of the English Church 
in the Townships of Newhannover, Oly, etc: where John Camp- 
bell Esq., William Mangridge Esq., Edward Drury A;. and their 
respective Families in them ‘Times kept up an edifying Society and 
used the Means of Grace for Salvation. 

Accordingly on the said 13th Day of June 1746 you were dedi- 
cated unto Jehova, the Most Adorable Father, Son and Holy 
Ghost, by your beloved Mother, by me and Madam Mary Camp- 
bell in the Presence of several Evidences. ‘The Covenant was per- 
formed by Prayers, Promise and Vow, that you, dear Israel, when 
living and arriving to years of Discretion, should be instructed to 
renew the Solemn Promise and Vow, which was made in your 
Name, should ratify and confirm the same in your own Person and 
acknowledge yourself bound by the Grace of God and your serious 
Endeavours, to know, to believe and to do all, whatsover is revealed 
in the Old and New Testament of the Holy Bible and extracted 
out of the same and set forth in the Catechism of the Church, as 


~-a6f 29 er 


PORTRAITS OF JEWS 


most necessary to Eternal Salvation. Madam Campbell has de- 
parted this life and been called home many years ago; and your 
Absence from me, has not permitted to enquire, whether you have 
performed the solemn Promise and Vow? not knowing whether 
you were alive or dead. But I hope your dear mother has remem- 
ber’d and affectionately exhorted you to observe your Duty. But in 
Case you had neglected Instruction and gone astray like a lost 
Sheep in the Wilderness, then I beseech you, for God’s Sake to lay 
hold on the Means of Grace in Order to be led by the Operations 
and Influence of the Holy Spirit into true Repentance, living Faith 
and Godliness. And since you have an Opportunity to be instructed 
in the Way of Salvation by the Rev? Mr. Wade, then improve the 
Time and Opportunity and follow the example of Truly approved 
Christians, in as much as they follow our ever blessed Saviour 
and walk in his Commandments. Which is the fervent Prayer 
of Dear Mr. Israel, your well wishing a: dying Friend: Henry 
Muhlenberg Sen’. 


NEw PROVIDENCE 
March: 31% 1784. 


In contrast to Israel Israel’s father, who outwardly professed 
Judaism, was his mother, “a well-meaning Christian,” who, ac- 
cording to the good Reverend, was extremely anxious that the 
infant be “‘made a child of God and an inheritor of the Kingdom 
of Heaven”—by baptism. The pious minister. was no less solicit- 
ous that Israel earn eternal salvation—by confirming the baptism 
and by believing and doing all that is revealed in the Old and 
New Testament. Thus one more Jewish soul is to be saved from 
eternal perdition. 

In the collection of Mr. J. Bunford Samuel, of Philadelphia, 
is a portrait of Rachel Levy, the wife of Aaron Levy. It is said 
that Rachel was a redemptionist and that one day Aaron, seeing 


~<6f 30 eon 


MISCELLANEOUS PORTRAITS 


her in tears, like Ruth “amid the alien corn,” while at work on 
the Sabbath on the steps of the Chew House in Philadelphia, took 
compassion on her, married her, and gave her the education then 
considered suitable for a young woman of her position. She is rep- 
resented in a slightly less than life-size portrait sitting in a red 
chair. Over the shoulders and neck of her tightly-fitting bodice 
are soft fluffy folds of white muslin, and around her plump throat 
is a string of yellow beads. Her white scant cap is topped with a 
cluster of blue ribbons. 

Her husband, Aaron Levy, is also represented in portraiture. 
Dr. A. 5. W. Rosenbach owns a miniature painting of him, and 
there is a life-size portrait of Aaron in the possession of the Clay 
family in Lexington, Kentucky. Aaron Levy, born in 1742, was a 
wealthy landowner of his day. In 1779 he purchased a large tract 
of land in Center County, Pennsylvania, and called it “Aarons- 
ville.”” Haping some day that it would become the capital of the 
state, he laid out a town of pretentious proportions. Except on 
paper, the town never realized its founder’s dreams. However, the 
village, as it now stands, consists largely of a magnificent street 
flanked on either side by charming houses of the Colonial period, 
which give it a quiet dignity. As Aaron advanced in years he became 
“Jand poor,” and when the Gratz family assured him a comfor- 
table annuity, he relinquished claim to his Philadelphia property, 
in their favor, and retired to Aaronsville. His Philadelphia prop- 
erty, located at Spring Hill and Garden Streets, incomparably val- 
uable today, formed a large share in the basis of the Gratz wealth. 

Another portrait in Mr. Samuel’s collection is a quaint silhou- 
ette of his grandfather, John Moss, who was born in London in 
1771, and died in Philadelphia in 1847. Mr. Samuel recently pur- 


if 31 He 


PORTRAITS OF JEWS 


chased two white marble lions, weighing two tons each, which had 
been placed as an ornament on the steps of the old Merchants’ 
Exchange in Philadelphia by Mr. Moss one hundred years ago. As 
the Exchange was being rebuilt, it was decided to relegate the 
lions to the scrap heap, and on this disclosure Mr. Samuel pur- 
chased back his grandfather’s lions and took them to his summer 
home at Sea Girt. Mr. Moss was the first to ship abroad a load of 
Pennsylvania anthracite coal, in return for which he obtained a 
highly remunerative cargo of bandanna handkerchiefs. He was a 
director in several railroad companies, was interested in Masonry, 
and was one of the committee on the Damascus episode, which 
marked the first concerted action since the Fall of Jerusalem on 
the part of Jews all over the world in behalf of their less fortunate 
brothers. The authorship of the silhouette was unknown until quite 
recently, when it was attributed by Mrs. Ethel Stanwood Bolton to 
William Henry Brown. 

Brown, known as the “last of the silhouettists,” was born in 
1808 in Charleston, South Carolina, of Quaker ancestry. Showing 
an inclination for his work at an early age, he soon became noted 
in his own day, and shared with Edouart the honors of a master 
craftsman in his field. Brown cut the whole figure very rapidly— 
his time varying from one to five minutes. During his lifetime 
he made many portraits of distinguished contemporaries; among 
them were Chief Justice John Marshall, John Quincy Adams, 
Andrew Jackson, John C. Calhoun, and others, all of which are 
reproduced in Brown’s own book, “Portrait Gallery of Distin- 
guished Citizens with Biographical Sketches.” 

Other portraits in Philadelphia of high artistic worth are in the 
possession of Dr. I. Minis Hays and merit consideration. Among 


—»a6f 32 eon 


MISCELLANEOUS PORTRAITS 


the most interesting are two beautiful portraits of Mr. and Mrs. 
Manuel Josephson, by Jeremiah Theus. 

An unusually fine portrait is this likeness of Manuel Josephson, 
life-size to the waist and turned toward his left, with his eyes 
facing front. He wears a gray suit trimmed with a collar and large 
buttons. A white neckcloth tied under his chin is tucked into his 
high buttoned waistcoat. His right arm rests by his side, and his 
left hand, showing exquisite lace at his wrist, is thrust into his 
waistcoat. Markedly beautiful is the oval face with its high fore- 
head, long but shapely nose, and well-formed mouth and chin. 
Manuel Josephson was born in 1729. During the years 178 5— 
1791 he was president of the Mikve Israel Congregation in Phil- 
adelphia. He married Ritzel Judah. 

Mrs. Josephson is portrayed in a life-size portrait to the waist, 
turned slightly towards her right, with her luminous eyes front. 
Her tight-fitting blue satin bodice in décolletage is trimmed with 
lace cleverly rendered. Ruffled sleeves also disclose lace just above 
the wrists, and a dainty lace collar encircles her throat. On her 
dark brown hair, brushed back from a high forehead, is a red rose. 

The love for sheeny satins, colorful waistcoats, and attractive 
accessories; in fact, the general gayety of apparel so apparent in 
the dress of our early Americans is effectively brought out in these 
paintings by Jeremiah Theus, who, when he died in 1774, amassed 
a comfortable fortune from his painting. 

Theus was born in Switzerland, and came about 1739 with two 
brothers to South Carolina. His work was chiefly confined to the 
South, where the following notice appeared in the Gazette of 
Charleston, South Carolina, August 30, 1740: 


~o6f 3 3 fer 


PORTRAITS OF JEWS 


Jeremiah Theus, Limner, gives notice that he is removed into 
Market Square, near John Laurens, Sadler, where all Gentlemen 
and Ladies may have their pictures drawn, likewise Landscapes of 
all sizes. Crests and Coats of Arms for Coaches or Chaises. Like- 
wise for the convenience of those who live in the country he is 
willing to wait on them at their respective plantations. 

There is hardly a southern family of note and position which is 
not represented in the canvases of this versatile artist. 

In Doctor Hays’ collection there is also a portrait of Barnard 
Gratz, 1738-1801 (brother of Michael Gratz), and one of his 
wife, Richea Meyers, 1731-1801, who was the daughter of 
Sampson Meyers." Barnard is seated at a table with spectacles in his 
right hand against a background of drapery and books. He came to 
Philadelphia from Germany when about seventeen years of age 
and entered into a partnership with Michael, trading with the 
Indians, and supplying the government with Indian goods. He 
was one of the signers of the Non-Importation Resolution and was 
a trustee of the Mikve Israel Congregation, Philadelphia. Charles 
Peale Polk, who painted the portrait, was a nephew of the noted 
artist Charles Willson Peale, and is celebrated for having painted 
some fifty portraits of Washington from memory. 

The portrait of Richea Gratz in which she wears a red dress 
cut low about her lovely neck, has been attributed by Lawrence 
Park to Robert Feke, the early Newport painter, who was receiv- 
ing commissions in Philadelphia at this time. 

With this collection also hangs a most interesting pastel by 
James Sharples of Samuel Hays, the grandfather of Doctor Hays. 
Samuel Hays, 1764-1839, lived in Philadelphia, where he was 
engaged in the East India trade and married Richea Gratz, daugh- 

1. Or Mears. 


—-<6f 34 fer 


MISCELLANEOUS PORTRAITS 


ter of Mr. and Mrs. Michael Gratz. This Sharples pastel exhibits 
those qualities of grace and charm found in the large collection in 
the Old State House, in Philadelphia, where there is an array of 
the notabilities of his day to whom in his sojourns he made requests 
for portraits. In this manner, travelling about as an itinerant artist 
in a four-wheeled carriage of his own contrivance, and carrying 
with him his wife and three children and all his implements, 
Sharples accumulated a considerable fortune, although his charges 
were only fifteen dollars for a profile and twenty dollars for a full 
face. 

Other Philadelphians prominent in the days of the Revolution, 
were Mr. and Mrs. Joseph Andrews, son-in-law and daughter 
of Haym Salomon, who rendered important services to the cause 
of the Revolution. Sallie Andrews, 1779-1854, was reputed to 
have been a great coquette in her youth, and of fair complexion, 
dark hazel eyes, and brown hair. She was active in social and phil- 
anthropic work in Philadelphia, where she was born during the 
Revolution, and died in New York City at the age of seventy-four. 
One of her seventeen children, Joseph I. Andrews, married Mir- 
iam Nones of New York, the daughter of Major Benjamin Nones 
of Revolutionary fame, and the daughter of this union is Mrs. 
E. L. Goldbaum, of Memphis, Tennessee, the owner of the orig- 
inal portraits of the Andrews.’ 

Mrs. Andrews wears, in the portrait, an oriental head-dress, 
ivory in color, with lavender shadows. About her dark wisteria 
dress is a white lace kerchief. Her jewels of pearls and diamonds 
are now in the possession of her great-great-grandchild, Joseph 
Franklin Andrews, of Memphis. Mr. Joseph Andrews, her hus- 

1. Letters from Mrs. E. L. Goldbaum. 


---<6f 35 feo 


PORTRAITS OF JEWS 


band, was born in New York City and died in Philadelphia. At 
the time the portrait was painted, he was a retired banker. His suit 
is of dark cloth, his vest of tan cloth. He is seated in a dark red 
chair and holds his Bible and spectacles in hand. Like his wife, he 
was also of fair complexion with hazel eyes and luxuriant dark 
hair." | 

An artist to whom recognition is now being accorded in greater 
measure was John Wesley Jarvis, who was born in England in 
1780, and came to this country at a very early age. He was chiefly 
self-taught, and received some instruction in the painting of min- 
iatures from Malbone. Many of his portraits can be found in the 
New York City Hall, in eastern municipal halls, and in old south- 
ern manors. Henry Inman, who was a pupil, often painted in back- 
grounds and draperies under the master’s directions. A distin- 
guished example of Jarvis’ work, now owned by Professor Samuel 
Mordecai, of Durham, North Carolina, is the portrait of Jacob 
Mordecai, who, in September, 1774, as a young sergeant, escorted 
into Philadelphia the first American Congress. At the age of 
twenty-three, he married Judith Myers of New York, and at her 
death married Rebecca, a half-sister of his wife. He settled in 
Warrenton, North Carolina, about 1787, where he'established a 
Seminary for Young Ladies, which brought him no little fame. 
Jarvis seems to rise above the commonplace in this picture in re- 
vealing the character of his sitter, with his fine silvery head, gentle 
mouth, and thoughtful eyebrows. 

Another Jarvis portrait is that of Mordecai M. Noah, the great 
American Jewish liberator and nationalist, who was born in Phil- 
adelphia, July 19, 1785. He was a conspicuous figure as editor and 

1. Letters from Mrs. E. L. Goldbaum. 


—6f 36 feo 


MISCELLANEOUS PORTRAITS 


publisher of several newspapers, and as consul in Tunis. Impressed 
with the unfortunate condition of the Jews in Europe, he pur- 
chased in 1825, on his return, twenty-five hundred acres of land 
at Grand Island, New York, which he called “Ararat,” and issued 
a manifesto for Jews to migrate there. The plan did not material- 
ize, but he never relinquished the hope of the ultimate restoration 
of the Jews to Palestine. The portrait is now owned by Mr. 
Robert L. Noah, of New York City. 

Another fine portrait by Jarvis is that of Major Mordecai 
Myers. He was born in Newport, Rhode Island, in 1776 and died 
in Schenectady in 1870, full of years and honor. His father was 
a friend of Dr. Ezra Stiles. As a youth he studied military tactics 
with Colonel de la Croix, a French officer who had served under 
Napoleon. His military experiences are recorded in ‘Reminis- 
cences, 1812-14, by Major M. Myers, 13th Infantry, U. S 
Army.” His sword is in the National Museum in Washington, 
D.C. Myers was in the Battle of Crysler’s Field on the Niagara 
Frontier, and was taken wounded to the house of Doctor Mann, 
where he remained four months. Here he met Miss Charlotte 
Bailey, who became his wife. They resided at Kinderhook, near 
Albany, where Myers was president of the village, and where he 
publicly received and addressed Martin Van Buren on his return 
home at the end of his term as President of the United States. He 
was an enthusiastic Freemason, and was elected six times to the 
New York State Assembly. Myers, with his low, cultured voice 
and charming manner, was a splendid host, and in his circle of 
friends whom he was delighted to see and entertain were Aaron 
Burr, De Witt Clinton, and Alexander Hamilton. Myers’ oldest 
daughter, Henrietta, married Peter S. Hoes, nephew of ex-Pres- 


—#ef 3°7 Be 


PORTRAITS OF JEWS 


ident Van Buren. A son, Theodorus Bailey Myers, was Lieutenant- 
Commander of the United States Navy, and had a magnificent 
library at his home at Four West Thirty-fourth Street, now the 
Waldorf Astoria Hotel. The lives of Myers’ distinguished family 
are recorded in a privately circulated volume, ‘Biographical 
Sketches of the Bailey-Myers-Mason Families, 1776-1905.” 
Two portraits of him are known to be extant. One, a miniature by 
Tisdale, painted in 1799, depicts a young man whose wistful aspect 
belies his twenty-two years. In the Jarvis portrait painted in 
January, 1810, when he was thirty-three, he wears the uniform of 
the United States Army. His fine eyes and expressive features are _ 
well defined in this notable Jarvis painting. 

In the Maryland Historical Society are two interesting Jarvis 
portraits. One is of Mrs. Solomon Etting, née Rachel Gratz, the 
daughter of Barnard Gratz, and first cousin of Rebecca and Rachel 
Gratz. She was born in 1764 and died in 1831. The portrait pre- 
sents an animated woman of middle age, with olive complexion, 
dark eyes, and dark brown hair. She wears a lace cap with stream- 
ers tied in bow fashion about a moderately plump neck, over which 
is a small white veil fastened with a handsome brooch. A lace 
shaw] of delicate texture, almost Copley-like in its feathery detail, 
adorns her portly shoulders. The painting falls short of the ele- 
gance of a Stuart, but gives a characterization of a well-defined 
personality, and reminds one at moments of the smiling matrons 
of Franz Hals. 

A little more austere and philosophical, rather more reflective 
in disposition, is the portrait of her husband, Solomon Etting, 
1764-1847, who was a man of great ability and energy. He 
anticipated by a generation the efforts of Disraeli and Baron Lionel 


—-<6f 38 Henn 


MISCELLANEOUS PORTRAITS 


de Rothschild, in the cause of Jewish emancipation, by making 
successive petitions to the Legislature of Maryland from 1816— 
1826, to make it possible for the Jews there to hold public office 
without first declaring a belief in the Christian religion. There is 
a subtle harmony of composition and treatment in this portrait 
which shows him writing at a table, his left hand resting on the 
arm of his chair. He wears a dark suit and white stock collar cut 
low under the neck. Particularly appealing are the blue eyes, 
moderately large, searching, yet kindly. 

A survey of early American portraiture of Jewish people in this 
country would not be complete without some notice of the works 
of Charles Balthazar Julien Fevret de St. Mémin, born in Dijon, 
France, March 12, 1770, and for some time a resident in this 
country. This curious artist, who has left some strangely quaint 
likenesses of celebrated families in America, made, among others, 
a drawing of Hyman Marks, which is in the possession of the 
American Jewish Historical Society, and portraits of Henry 
Alexander, Solomon Moses, and Abraham Hart.’ Drawings of 
Mrs. Samson Levy, Senior (Martha Lampley ), and her son, Sam- 
son, Junior, are owned by a descendant, Mrs. Robert Hale Ban- 
croft, of Boston, and an engraving of the wife of Samson, Junior, 
who was Sarah Coates, reduced from the original St. Mémin 
portrait, is in the possession of Mrs. Albert Bache, Philadelphia. 
St. Mémin’s method of portraiture was unique. He first made a 
life-sized portrait with black crayon on pink paper, by the aid of a 
mechanical device of his own invention which he called a “phy- 

1. Dacosta, who has been included in the list of Jewish subjects by St. Mémin, was not a 
Jew but a Spanish Catholic. His full name was Jose Roiz Da Costa. Isaac Dacosta, the Jew, 


died about 1784. As St. Mémin was born in 1770 he could hardly have drawn Isaac 
Dacosta’s portrait. From a note by Samuel Oppenheim. 


~o<f 39 }e-- 


PORTRAITS OF JEWS 


sionotrace,” and then reproduced the crayon upon a small copper 
plate, two inches in diameter. He framed the crayon and gave it 
with the plate and twelve proofs to his sitter for thirty-three dol- 
lars. It is rather interesting to note that a St. Mémin portrait can 
bring as much as five hundred dollars or more today, depending 
upon the importance of the subject. A complete set with the name 
of each subject is at the Corcoran Gallery, Washington, District 
of Columbia. 


~-a6f 40 He 


I] 
MINIATURES 


FORM of painting which enjoyed great vogue in Colonial 
days was the miniature, adorned in frames of simple 
beauty or richly decorated with precious gems. Great 

sentiment and romance attached to these dainty intimate treasures, 
which sometimes enclosed a lock of hair, as they were often lovers’ 
gifts. They were painted on ivory and executed in water colors, 
the flesh tints and other parts requiring great delicacy of finish, to 
preserve the freshness of the complexion, and the transparency of 
blood and vein underneath the skin. 

At the observance of the one hundred and twenty-fifth Anni- 
versary of the Inauguration of George Washington, at a meeting 
of the Daughters and Sons of the American Revolution in New 
York City, May, 1914, mention was made of the miniature of 
Colonel David Salisbury Franks and the history of his brilliant 
career recalled. He served as an American diplomatic agent and 
officer in the American Revolutionary Army. He was an aide-de- 
camp to Benedict Arnold, after whose trial for treason he con- 
ducted Mrs. Arnold, at the request of Washington, to her home in 
Philadelphia. In this trial Franks was also implicated but honorably 
acquitted, and subsequently went to Europe as bearer of despatches 
to Jay in Madrid and to Franklin in Paris. On his return he was 
reinstated in the army with rank of Major and was granted four 
hundred acres of land in recognition of his services during the war. 
He was one of the original members of the Cincinnati, Pennsyl- 


~a6f 41 eon 


PORTRAITS OF JEWS 


vania Division. The miniature owned by Mrs. Clarence I. De Sola, 
of Montreal, Canada, was painted in 1776 at Valley Forge, for 
the sum of seventy-five dollars, by Charles Willson Peale, 1741— 
1827, one of the finest of the American miniature and portrait 
painters. It shows an unusually scrupulous attention to detail. The 
hair is powdered, and the coat is a military blue. It is exquisitely 
done and encased in its original simple gold frame with glass on 
both sides.’ 

Mr. Bunford Samuel of Philadelphia owns an unattributed 
miniature of Jacob De Leon, the known facts of whose life are 
meagre. There is a tradition, however, that as a captain on General 
Pulaski’s staff, he fought at the Battle of Camden, South Carolina, 
and with Captain De La Motta and Major Benjamin Nones, car- 
ried the mortally wounded De Kalb from the field.* The powdered 
hair, the claret-colored coat with gilt buttons, and the ruffled shirt 
make a pleasing Colonial portrait. 

Miss Eleanor S. Cohen, of Baltimore, has a photograph from 
the miniature of her maternal great-grandfather, Isaac C. Moses, 
who died April 3, 1834. The present ownership of the original is 
unknown to her. There is also in her possession a composite minia- 
ture of Kitty Etting Cohen, 1799-1837, the sister of Miriam 
Etting and the wife of Benjamin I. Cohen. After Mrs. Cohen’s 
death, a son and daughter sat for a miniature which is said to be an 
excellent likeness.* 

In the Maryland Historical Society there is a collection of min- 
iatures in the Cohen Room, among which is the still unattributed 


1. Letters from Mrs. Clarence I. De Sola, Montreal. 


2. Dr. Barnett A. Elzas discredits this tradition in his book on the “Jews of South 
Carolina.” 


3. Letters from Miss Eleanor S. Cohen, Baltimore. 


~alh 42, Yee 


MINIATURES 


miniature of Mrs. Solomon Etting, apparently done when she was 
Rachel Gratz. The features which Jarvis painted in their maturity 
are here delineated in a delicate youthful manner. The young 
woman’s light brown hair and fair complexion are set off exquis- 
itely by her white dress. There are also two miniatures here of her 
distinguished husband attributed to Benjamin Trott. One shows 
Mr. Etting in profile with the same fine blue eyes and white hair 
that we see in the Jarvis painting. The other represents a front 
view, the hair brown, the suit gray, evidently of a more youthful 
period. 

Benjamin Trott was among the formidable rivals of Malbone in 
his day. He was born probably in Boston about 1770. He painted 
in New York and Philadelphia, and was a friend of Stuart, whose 
oils he copied in miniature. When Trott exhibited at the Penn- 
sylvania Academy, it was said that his little paintings had all the 
force and effect of the best oil pictures. This was the more com- 
mendable as Trott was purely an American, and had never come 
under the influence of foreign study. He would probably have 
excelled as a painter had he not devoted considerable time in ex- 
perimenting with devices to convey colors to ivory, but, in the 
course of these experiments, he discovered some unusually fine 
pigments which gave his work an exquisite clarity. 

A miniature in the Cohen Room, attributed to Trott, of Benja- 
min I. Cohen, 1797-1845, son of Israel I. Cohen, and son-in-law 
of Solomon Etting, is singularly sweet and expressive. Against a 
gray background, the romantic features of this handsome young 
man in his Byronic ruffles make a striking portrait. Another minia- 
ture said to be by Trott is that of Joseph Solomon, the father-in- 
law of Elijah Etting, the founder of the Etting family in America. 


~-a6f 43 fe 


PORTRAITS OF JEWS 


Solomon was born in London in 1700 and died in this country in 
1780. The portrait reveals small blue eyes, a gray wig, pale com- 
plexion, strongly marked Semitic features, and a mouth and chin 
feminine to the point of indulgence—comfortable and complacent 
in his appearance like the Colonial patricians at ease on their plan- 
tations. : 

In the Maryland Historical Society are also miniatures by the 
greatest of the American miniaturists, Edward Greene Malbone, 
who was born in Newport in 1777. Among the precious minia- 
tures which he painted in his short career, for he was only thirty 
years old at the time of his death, is a charming oval of Miriam 
Etting Myers, 1787-1808, the daughter of Solomon and Rachel 
Etting, and wife of Jacob Myers. Her brown eyes, fair complex- 
ion, and white Empire dress, make a luminous portrait against the 
delicate blue background. 

Even more beautiful are his portraits of the famous Gratz sis- 
ters, whom he met through Mr. and Mrs. J. Ogden Hoffman, of 
New York, at whose home the Gratz girls were frequent visitors. 
Here they became acquainted with many members of the brilliant 
circle which gave New York literary distinction in the early years 
of the nineteenth century—William Cullen Bryant, James Feni- 
more Cooper, John Inman, brother of Henry Inman, the artist, 
Henry Tuckerman, and Washington Irving. The latter was en- 
gaged to the Hoftmans’ daughter, Matilda, to whom Rebecca was 
devotedly attached, and whom she nursed during her fatal illness. 
Ever afterward, a beautiful friendship existed between Irving and 
Miss Gratz, and when he spoke of her subsequently to Walter 
Scott, the latter was so impressed by the beauty of her character 
that he immortalized his friend’s friend in his conception of 


if 44 Be 


MINIATURES 


Rebecca in “Ivanhoe.”* It was from the Hoffman family that 
Edward Malbone brought letters of introduction to Miss Gratz, 
from whom he received encouragement and numerous commis- 
sions. A miniature of Rachel was presented by him as a gift to 
Mrs. Hoffman. 

Malbone’s feeling for beauty and grace gives the exquisite min- 
iatures of the Gratz sisters a sweet and charming purity of expres- 
sion. These lovely young women, in their dainty Empire frocks of 
white dotted muslin, had no hesitation to entrust the painting of 
their portraits to this artist, of whom Washington Allston, a con- 
temporary, said: ““No woman ever lost any beauty from his hand.” 
The miniature of Rebecca is owned by Miss Rachel Gratz Nathan, 
of New York, and that of Rachel is in the possession of Mrs. John 
Hunter, of Savannah, Georgia. 


1. Anne Hollingsworth Wharton, “Heirlooms in Miniatures.” 


~if 45 He 


II] 


THE GREAT AMERICAN MASTERS 
GILBERT STUART AND 
THOMAS SULLY 


S MALBONE was the greatest of the American miniatur- 
ists, so Gilbert Stuart was the greatest of the American 
portrait painters. He was born near Newport, Rhode 

Island, December 3, 1755. At the age of eighteen, after some 
training, he went abroad to study and returned within two years 
destitute of everything but the great gift. Before long, however, 
the Jews of Newport discovered his genius, and shortly after his 
return he began to paint portraits of the wealthy Jewish families 
then living there, including the Lopez family, of whose portraits 
now, unfortunately, there is no trace.’ The subjects of a portrait 
painter play a part more significant in the development of an 
artist than is commonly recognized. Perhaps it is not too much 
to infer that through the early recognition of his genius by these 
Jews, Stuart’s great career was started, receiving that early impetus 
which often makes the point of demarcation between an indiffer- 
ent success and a career of surpassing distinction. In this sense 
Gilbert Stuart and the world owe much to the Jews. In 1775, 
Stuart went abroad, again, and after a short career in London, 
where he rivalled Reynolds and Gainsborough in popularity, a 
patriotic impulse to paint a portrait of Washington brought him 


1. “Masters in Art: Stuart,” January, 1906. 


—-af 47 Heo 


PORTRAITS OF JEWS 


back to this country. He worked in New York, Philadelphia, 
Washington, and finally settled in Boston. 

His portraiture was enhanced by his capacity to create an en- 
vironment which banished self-consciousness in his sitters, a feat 
he achieved largely through his personal charm. His portraits, the 
best of which are superb—the flesh, brilliant and transparent in 
the light, mellow yet glowing in the shadows—have a permanent 
freshness and are painted with unequalled purity of color. At 
times there are suggestions of fabric or lace, but these were indi- 
cated merely to give an effect, and in general costumes were but 
accessories. He said himself “I copy the works of God, and leave 
the clothes to tailors and mantua-makers.” 

In 1825 Stuart’s health began to fail, and he died on July 9, 
1828. The “Life and Works of Gilbert Stuart,” by George C. 
Mason, attributing more than six hundred portraits to this inde- 
fatigable artist, remained for some time the best work of reference 
on Stuart’s life. It is now superseded by Lawrence Park’s monu- 
mental work on Stuart. 

Among the Jewish portraits is the typical Stuart head of Abra- 
ham Touro, brother of the philanthropist Judah Touro, of New 
Orleans and Boston, and son of Isaac ‘Touro, whose portrait Stuart 
painted from memory after Touro’s death. The Touro family 
were early residents of Newport, and Ezra Stiles, in his diary, 
mentions spending the day, June 30, 1773, with Mr. Abraham de 
Isaac Touro, who married a Miss Hays,’ and for whom Rabbi 
Karigal performed the ceremony. 

Dr. I. M. Cline, of New Orleans, the present owner of this 
portrait,’ said that it was given by Judah Touro to Mr. Gershom 


1. Miss Reyna Hays was a sister of Moses Michael Hays. 
2. This portrait was just acquired, March, 1927, by The Ehrich Galleries, New York. 


—o<fif 48 fie 


AMERICAN MASTERS 


Kursheedt, of New Orleans, who had been appointed executor of 
the Touro estate. Mr. Kursheedt gave it to his sister, Mrs. Benja- 
min Florance (née Rebecca Kursheedt, of New Orleans), who 
passed it to her son, Mr. Ernest Touro Florance, from whom it 
was purchased by Dr. Cline. The portrait is that of a very hand- 
some young man, keen of visage, pleasing in expression. Doctor 
Cline writes that he has seen many Stuarts, but this cannot be sur- 
passed for subtlety and charm. 

Mr. Touro, at the age of forty-five, while watching a parade in 
Boston one day, met with a fatal accident, having crushed his leg 
in leaping from his chaise. In his will this young man, among other 
legacies, left ten thousand dollars to the Massachusetts General 
Hospital and fifteen thousand dollars to the synagogue at New- 
port, where his body is interred. 

Another Stuart portrait is that of Jacob Rodriguez Rivera, 
painted about 1774 and given by Miss Rodman, of Boston, to the 
Redwood Library in Newport. The Rodman family records re- 
veal that the painting is that of Jacob Rivera and not of Abraham, 
as has been commonly supposed. Miss Rodman’s great-grand- 
father Rodman lived as a youth in Newport, where the Jews 
employed advanced business methods then unknown to other mem- 
bers of the community, and young men who sought superior com- 
mercial training attached themselves to the Jewish merchants 
there. Mr. Rodman entered the employ of Jacob Rivera and, 
admiring his character and personality, asked him to sit for his 
portrait. There has been some dispute as to the authenticity of 
this portrait.” Miss Rodman believes that it was painted by Edward 


1. Conversation with Miss Emma Rodman, Boston. 

2. “Mr. Hart examined this Rivera portrait with me and decided that it was painted by 
Savage and not by Stuart. I did not agree with him, nor did Miss Rodman, at that time 
at least. What Mr. Bayley’s opinion about it is I do not know.”——-Lawrence Park. 


a8 49 fe 


PORTRAITS OF JEWS 


Savage in Leicester, Massachusetts, where her family afterward 
lived, and where, too, she believes the Riveras removed, but Mr. 
Frank W. Bayley, after a study of the historic data available and 
examination of the technique, said that it was painted by Stuart in 
his early period. The portrait is that of a gentleman past middle 
life in a black coat, wearing a white stock collar and white lace 
cuffs. His right hand rests on the back of a draped chair, and his 
left hand is tucked inside his coat. The face is very well drawn, 
showing a prominent nose and protruding lower lip. The artist, 
with feeling and sincerity, has reproduced the character and per- 
sonality of the gentle gray-haired old man. It is a striking example 
of early American art. 

Another important Stuart is that of Samuel Myers, tHe son of 
Myer Myers, a banker and the foremost New York silversmith of 
his day. Samuel was born in New York City, in 1775. Because of the 
political activities of the elder Myers in behalf of the Revolution- 
ists, the family was forced to flee to Connecticut upon the occupa- 
tion of New York by the British. The Samuel Myers portrait was 
painted for him by Gilbert Stuart about 1810, when Myers was 
living in Richmond, Virginia, where he went after his marriage in 
1796 to his second wife, Judith Hays, of Boston. The portrait is 
now owned by a great-granddaughter, Mrs. John Hill Morgan of 
New York City. It is on a mahogany panel twenty-five by thirty 
inches, and a copy, possibly by Jane Stuart, a daughter of the artist, 
is owned by Mrs. Morgan’s sister, Mrs. Richard Frothingham 
O’Neil, of Boston. Against a red background is limned the por- 
trait of a distinguished-looking man of middle age, his hair tinged 
with gray, wearing a black coat, white stock collar, and a lace- 

1. Letters from John Hill Morgan, Esq., New York. 


~a6f 50 Yeo 


AMERICAN MASTERS 


ruffled shirt. His nose is aquiline, his mouth firm and small, and 
he has a large chin and forehead. The eyes, appraising yet kindly, 
are indicative of a character that reached great heights both in 
commerce and in philanthropy. 

At the time Mr. Myers gave the commission for his own pic- 
ture, he ordered from Stuart a replica of his Athenzeum portrait of 
Washington, for whom Mr. Myers had conceived a great admira- 
tion. He owned this picture for many years, when he either sold 
or presented it to the Virginia State Library. This Washington 
portrait, however, has unfortunately disappeared. 

Judah Hays, 1772-1832, a brother-in-law of Samuel Myers, 
was also painted by Stuart at the same time, probably at the request 
of Mr. Myers. The portrait descended to a grandson, Major 
FE. T. D. Myers, of Richmond, Virginia (for many years President 
of the Richmond, Fredericksburg & Potomac Railway Company), 
at whose home, in a fire, it was badly damaged some ten years ago. 
It has been restored and is now in the possession of another de- 
scendant, Mrs. William C. Preston, of Richmond, Virginia. Mrs. 
O’Neil has a copy of this portrait painted by her father, Mr. 
William Myers, an artist, which.Mr. Morgan believes is superior 
to the burned original. 

Judah, the son of Moses Michael Hays, of Boston, received a 
good education, which was further enhanced by the study of 
French in Europe, whither he set out in 1796. Subsequent trips 
were made there on business, and on the death of his father he 
inherited a fortune representing large real estate holdings. To him 
belongs the distinction of being one of the founders of the Boston 
Athenzum. Possessed of wealth and culture, it is unfortunate that 
he did not live longer to enjoy its benefits; his life was cut short, 


math 51 He 


PORTRAITS OF JEWS 


while ona pleasure trip to Florida, by an accidental drowning. His 
portrait represents a handsome young man of romantic counte- 
nance, with wavy brown hair and blue eyes and regular features. 

The Myers family are represented in other portraits by Stuart 
now owned by Mr. Barton Myers, of Norfolk, Virginia. These 
are the portraits of Mr. and Mrs. Moses Myers, which have been 
incorrectly listed in Mason’s book under the name “Mieres.” _ 

Mr. Myers’ portrait was painted about 1808 in Boston. He is 
seated in a gilded armchair, upholstered in crimson velvet, before 
a table covered with a crimson cloth, on which his right hand rests 
holding an open letter. His hair is powdered, his eyes are dark 
brown, and he wears short side whiskers. His white neckcloth, tie, 
shirt frills, and white waistcoat are in accordance with the gentle- 
manly attire of the day. His eyebrows and forehead suggest a 
largesse of thought, and the appearance of whimsicality and dis- 
cernment — in the eyes and mouth — affirms a definitely Jewish 
expression. 

Moses Myers was the son of Hyman Myers, a native of Amster- 
dam, who resided in New York. Moses came to Norfolk, Virginia, 
in 1786. He was a foremost citizen of Norfolk, and a Jewish 
banker there. When the Bank of Richmond was established in 
1792, he was named in the act as its superintendent at Norfolk. 
He also represented the French Republic at Norfolk at this crit- 
ical time. An old record says of Moses Myers: “He possessed in an 
eminent degree what may be called the chivalry of the commercial 
character, and displayed in bearing a dignity and grace which 
looked infinitely beyond an ignoble rivalry and the tricks of trade.” 

His wife was Eliza Judd or Judah of Montreal, the daughter 
of Samuel Judah, who, though living in Canada during the Revo- 


—-<6f 52 He 


AMERICAN MASTERS 


lution, sympathized with the American cause, and rendered it 
invaluable service. 

Eliza’s portrait was also painted about 1808 in Boston. Clus- 
tered beneath a white turban are seen little reddish-brown curls, 
and a lace shawl delicately falls over her low-necked Empire dress. 
Stuart made little of accessories and backgrounds, and here, as in 
the portraits of so many women whom he painted, Mrs. Myers is 
seated in an Empire armchair—a studio property—with a gilded 
wooden frame and upholstered in crimson velvet. 

There hangs in the Pennsylvania Academy of Fine Arts, the 
portrait of Colonel Isaac Franks, presented to him with this in- 
scription: “Portrait of Mr. Isaac Franks presented to friend Isaac 
Franks as a token of regard by Gilbert Stuart, Germantown, Octo- 
ber 1, 1802.” The portrait was left to Samuel and Sara Franks, 
children of the Colonel, each by turn to have it for one year. The 
picture was afterwards sold by G. W. Huffnagel, son-in-law of 
Colonel Franks, to the late Henry C. Gibson, who bequeathed it 
to the Museum. 

Isaac Franks was a great patriot and officer in the Revolutionary 
Army. He was born in New York, May 27, 1759, and died in 
Philadelphia, March 4, 1822. It was in his house at Germantown, 
a suburb of Philadelphia, that President Washington resided dur- 
ing the prevalence of the yellow fever. 

A Stuart portrait of surpassing beauty in the possession of Mr. 
Henry Joseph of Montreal, Canada, is of the beautiful Rachel 
Gratz, daughter of Michael Gratz, and sister of Rebecca Gratz. 
It is almost impossible to set down in words the unusual charm of 
her face with its expressive eyes and delicate features, the graceful 
sweep of her blond curls, the contour of her neck and shoulders, 


—-<if 5 3 fier 


PORTRAITS OF JEWS 


all of which combine to make a portrait of surpassing loveliness. 
In comparison with her sister, Rebecca, she had no “history.” She 
married Solomon Moses in 1806, also portrayed by Stuart, reared 
a large family, and died at the age of forty in 1823. 

The portrait of her husband was painted in 1806. Solomon 
Moses was no less handsome than his beautiful wife, Rachel 
Gratz; indeed, there are few Stuart portraits with which these do 
not favorably compare. In the refined oval of the face, the glow- 
ing eyes, the chiselled nose, mouth, and chin, the absolute freedom 
and life quality of the pose, is the quintessence of Stuart’s art. 
Solomon Moses was a merchant of no small importance in New 
York, by 1796, and he and his wife reared a large family, of which 
a daughter, Sarah Gratz Moses, was the mother of Mr. Joseph, 
the present owner of the portrait. 

Another Stuart in this collection is that of Mrs. Michael Gratz, 
the mother-in-law of Solomon Moses. Mrs. Gratz was Miriam 
Simon, the daughter of Joseph Simon. She was born in 1750 and 
died in 1808. Mrs. Gratz is shown with a dainty lace cap, worn by 
the mothers of that generation, a thin white fichu about her throat, 
and hands folded in matronly fashion. Common sense gleams 
from those clear eyes and intelligent countenance, a thoroughly 
practical and livable character of dignity and calm, modelled with 
care and elegance. 

The Gratz family is also represented by another artist in this 
collection in the portrait of Joseph Gratz, 1785-1858, the son of 
Mr. and Mrs. Michael Gratz, by George Peter Alexander Healy. 
Healy was born in Boston, in 1808, and at his best his portraits, 
especially those of eminent men, among whom are Webster, Clay, 
and Calhoun, are full of vigor, and rank with notable examples of 


~-<6f 54 Hee 


AMERICAN MASTERS 


American portraiture. This portrait of Gratz is unmistakably a 
rugged piece of work, a characterization of a dignified looking 
man in a dark suit and white collar. He was secretary of the Con- 
gregation Mikve Israel for a long period of time in Philadelphia, 
was a director of the Institution for the Instruction of the Deaf 
and Dumb in that city, and an early member of the first City Troop 
of the Philadelphia Club. Like his brothers Hyman and Simon, 
he remained unmarried. In view of the numerous and interesting 
details of the Gratz family, it is surprising that more of his life has 
not been recorded. His sister Rebecca and his father Michael 
Gratz are immortalized in portraits by Sully in the collection of 
Mr. Henry Joseph of Montreal. 

Thomas Sully, 1783-1872, was born in England and came to 
this country with his family when nine years of age. When twenty 
years old, having failed in business, he established himself as an 
artist, and after a short residence in New York and in Boston where 
he received some instruction from Gilbert Stuart, returned to 
London, where he studied with Benjamin West. On his return he 
did some excellent portraits, and in 1837 made another visit to 
England, during which he painted the celebrated portrait of Queen 
Victoria. His best work, however, was done before 1825, most of 
his pictures after that degenerating into mere prettiness. How- 
ever, his work at its best reveals a singular charm and delicacy. In 
his long life of eighty-nine years he painted hundreds of portraits 
listed in his Register." Among them are a number of Jewish por- 
traits, but only a few can be described here. 


1.See addenda. Doubtless there were many Jews painted by Sully whom I have not 
listed, because wherever there has been a shadow of doubt I have deemed it best to omit 
them. It is not alone from the name that one can discover a Jewish origin. In Pennsylvania, 
for example, there were families of German and Dutch origin whose names might have 


applied equally to Jew or Gentile. 
96 55 He 


PORTRAITS OF JEWS 


The brilliant youth of Rebecca Gratz, so charmingly portrayed 
in the Malbone miniatures, was fulfilled in a life devoted to charity 
and philanthropy, and in Mr. Joseph’s large painting of her by 
Sully’ much of this loveliness of character finds expression. She 
has an olive complexion, brilliant color, soft, dark brown eyes and 
black hair. Over her claret-colored dress she wears a white lace 
drape and a pale yellow mantle lined with white fur.* That this 
was a faithful representation of the subject is confirmed by John 
Sartain in his ““Reminiscences of a very Old man,” in which he 
tells of a visit to Miss Gratz in her later life. “(Her eyes struck me 
as piercingly dark, yet of mild expression, in a face tenderly pale. 
The portrait Sully painted of her must have been a remarkable 
likeness, that so many years after I should recognize her instantly 
by remembrance of it.” 

Her father, Michael Gratz, 1740-1811, came to America in 
1758 and settled in Philadelphia. A description of the portrait by 
the present owner singles out especially the blue eyes, ruddy com- 
plexion and gray hair, the buff waistcoat, white stock and taupe 
coat.* ‘The so-called looseness which mars some of Sully’s other 
portraits finds no place here. In this magnificent portrayal of a 
keen and kindly-visaged man, Sully has achieved a remarkable 
study. It betrays no sentimentality; it is the face of a man of strong 
character, not insensitive to beauty and permeated with nobility. 
Some of the extraordinary business enterprise and initiative which 
among other things impelled him to purchase the Mammoth Cave 
in Kentucky has found expression in this painting. 


The colonizing impulse came upon him in the years between 


1. See addenda for other Sully portraits of Rebecca Gratz. 
2. Letters from Henry Joseph, Esq., Montreal. 
3. Letters from Henry Joseph, Esq., Montreal. 


-<6f 56 feo 


AMERICAN MASTERS 


1768-1775, and he engaged in many enterprises which were con- 
tinued by his son Benjamin Gratz, 1792-1884; and their collected 
documents from the time of the Seven Years’ War to the Revolu- 
tion, from the War of 1812 to the Mexican and Civil Wars, com- 
pass the growth of the United States not only from the Atlantic 
Coast to the Mississippi, but even to the Rio Grande and the Pa- 
cific. Benjamin finally took up his residence at Lexington, Ken- 
tucky, and became second president of the first Kentucky railroad. 
He married Maria Cecil Gist, granddaughter of Christopher Gist, 
whose maps, now in the Public Record Office in London, are the 
first on record from actual surveys of the Ohio Valley. His por- 
trait and that of his wife were both painted by Sully, and are in 
the possession of a daughter, Mrs. Thomas Clay of Lexington, 
Kentucky, whose husband was a grandson of Henry Clay. 

Sully’s Register includes the portrait of Gustavus A. Myers, 
1801-1869, the son of Samuel Myers, of whom the portrait by 
Stuart has already been mentioned. Gustavus married Mrs. James 
Hugh Conway, the daughter of Governor William Giles of Vir- 
ginia. He and his father lived in adjoining houses in Richmond, 
and the well-known Crump House there is the house once owned 
by Samuel Myers. A son, William, was a talented artist, who copied 
the Stuart portrait of his great-uncle Judah Hays, and the Sully 
portrait of his father. Gustavus was a prominent lawyer and a man 
of pronounced literary tastes, and thus drew about him a circle of 
friends, one of whom was G. P. R. James, for several years Brit- 
ish Consul in Richmond. At the outbreak of the Civil War, no 
doubt through the recommendation of Mr. James, Mr. Myers 
was appointed British Consul in Richmond and, though not an 


official minister, acted as representative of the British Government 


—~<if 57 feo 


PORTRAITS OF JEWS 


in its dealings with the Confederate States of America throughout 
the war.’ 

In the portrait by Sully the face is illumined with a fine spir- 
itual quality. It is owned by Mr. Myers’ granddaughter, Mrs. 
John Hill Morgan of Brooklyn, and for some time has been on 
exhibition at the Brooklyn Art Museum together with the Stuart 
portrait of Samuel Myers. 

Sully was known as the “Sir Thomas Lawrence of America” 
because, in his charming and delicate portrayal of women, he was 
not unlike his great English contemporary. The delicacy of his 
brush is exemplified in a portrait, owned by the Corcoran Gallery 
of Art, of Fanny Yates, who was born in Liverpool, England, of 
a prominent Jewish family. Here she was married to Jacob Cla- 
vius Levy, a native of Charleston, South Carolina, when she was 
but sixteen years of age, and came to this country with her hus- 
band about 1840. Jacob Clavius was a gentleman of note; he was 
a director of the Union Insurance Company from 1830-1840, a 
delegate to the Knoxville R. R. Convention in 1836, and a mem- 
ber of the Charleston Chamber of Commerce from 1841-1847. 
Politically he was affiliated with the Union party. A scholarly 
article which he wrote on the “Reformed Israelites” appeared in 
The Southern Quarterly Review for April, 1844. His father, an 
Englishman by birth, came to this country at an early age, bring- 
ing with him books, silverware, glass and china.’ 

Mr. and Mrs. Jacob Clavius Levy reared a large family. A 
daughter, Eugenia, married Philip Phillips, a lawyer of promi- 
nence, who originated the Court of Claims. Eugenia, a brilliant 


1. Letters from John Hill Morgan, Esq., New York. 


2. Letters from Mrs. Eugenia Phillips Myers Minis, the great-granddaughter of Fanny 
Yates Levy. 


—-<6f 58 Yee 


AMERICAN MASTERS 


woman, was a member of a select and noted coterie of Washington 
society from 1850-1860. During the war between the States, she 
was arrested twice on account of her strong southern sympathies. 
A son, Samuel Yates Levy, was a lawyer in Savannah, Georgia, 
and the author of several plays, one of which, the “Italian Bride,” 
was performed. 

Fanny Yates Levy died at the home of her daughter, Mrs. 
George Repplier, in Philadelphia, when she was ninety-four years 
old. She was buried in Savannah, Georgia, where her family re- 
moved in 1848. 

Thomas Sully painted Mrs. Levy’s portrait in 1842, a few years 
after her arrival in Charleston. Her small and well-shaped head, 
with its luminous dark brown eyes, is turned slightly to the right, 
and over her brown hair, parted in the middle, is a gray headdress 
which softly falls to her shoulders. The portrait is a symphony in 
brown and gray tones relieved by the rosy hues of her olive com- 
plexion. 

The portrait of Major Alfred Mordecai also belongs to the long 
list of American Jews who were patrons of Sully. Alfred Morde- 
cai, the son of Jacob Mordecai, whose portrait was painted by 
Jarvis, was born in North Carolina in 1804. When fifteen years of 
age he was admitted to West Point, from which he was graduated, 
at the head of his class, in 1823. He then became an instructor and 
author on military subjects and published ““Experiments on Gun- 
powder” and other works. As a recognized authority in the mili- 
tary world, his fame spread throughout the country and abroad. 
He was sent by our government to the Crimea in 1855-1857 to 
witness operations there, and his report was published by order of 
Congress. From 1823-1861 he was an executive officer of the 


Af 59) fae 


PORTRAITS OF JEWS 


Staff ‘Corps of the Army, in which he had attained the rank of 
Major, but at the outbreak of the Civil War he resigned, as he was 
a southerner by birth and sentiment, and refrained from taking any 
active part in the war. Major Mordecai married Anne Hays, a 
devout Jewess, who was the granddaughter of Michael Gratz and 
the great-granddaughter of Joseph Simon of Lancaster. He died 
in Philadelphia in 1887. His portrait, expressing in the deep-set 
eyes and firmly moulded chin a person of strength and determina- 
tion, is in the possession of his daughter, Miss Mordecai, of Phil- 
adelphia. 

Another Sully portrait is that of Solomon Jacobs, who was born 
in 1775. He lived in Richmond, Virginia, a very wealthy, prom- 
inent, and respected citizen. Besides his own home, which was on 
the south side of Grace Street between Eighth and Ninth Streets, 
he owned some of the most desirable property in Richmond. He 
also represented the French government in the tobacco market and 
acted as local agent for the banking house of Rothschild. At one 
time he was Recorder and Acting Mayor, the highest municipal 
office ever held by a Richmond Jew. On December 11, 1810, he 
was elected Grand Master of the Masons of Virginia and retired 
December 14, 1813, after three consecutive years, which has been, 
as far as known, the longest period ever served by any Grand 
Master. His lodge was the Richmond Randolph, number nine- 
teen. Solomon Jacobs’ portrait was recently sold by the Macbeth 
Gallery to Mrs. William Averell Harriman of New York. 

Sully painted a second portrait of Solomon Jacobs in his Ma- 
sonic regalia. This has been engraved by I. A. O’Neill. Mr. F. 
Boykin Jacobs, of Richmond, Virginia, his grandson, wrote me 
the following about the portrait: “I am not sure whether it was 


~-a6t 60 Heo 


AMERICAN MASTERS 


painted in Philadelphia or Richmond as my grandfather lived in 
Philadelphia before settling here. The background is dark brown, 
and the colors are most beautifully brought out. The painting was 
sent on to New York City some years ago, where it was awarded a 
prize as one of Sully’s masterpieces. It was sent by the Masons, as 
he was Grand Master of Masons of the State of Virginia. This is 
all the information I can give as our family records were destroyed 
at the evacuation of Richmond in April, 1865.” 

The Levy family, prominent in the social and communal life 
of Philadelphia, were also patrons of Sully. Samson Levy, Senior, 
1722-1781, was a merchant and one of the founders of the City 
Dancing Assembly of Philadelphia, and his eight children by 
inheritance became members of this exclusive assembly. The 
eldest, Moses, 1758—1826, was a famous lawyer and judge, whose 
portrait, painted by Rembrandt Peale, has already been mentioned. 

Moses’ daughters, Henrietta and Martha, painted by Sully in © 
1810, are still in their original frames. Henrietta’s portrait is in 
the possession of Mr. J. J. Milligan, and Martha’s is owned by her 
granddaughter, Mrs. Robert Hale Bancroft, of Boston.’ It is a 
charming portrait of a young girl of twelve, in a high-waisted 
dress with a rose girdle, standing by a brown spinet, quaint and 
demure and with rather uncommon poise, if we may call it such, 
for a girl of her tender years. 

Portraits by Sully of Samson Levy, Junior, 1761-1831, and of 
his wife, who was Sarah Coates, are also in the Bancroft home. 
Samson was an interesting, yet eccentric character. As a lawyer he 
was conspicuous more for his brilliancy and eloquence than for his 
knowledge of the law. He was evidently a lover of the arts, as 


1. Conversation with Mrs. Robert Hale Bancroft, Boston. 


~oa6t 61 Be 


PORTRAITS OF JEWS 


his portrait was painted not only by Sully, but also drawn by St. 
Mémin, and he was one of the incorporators of the Pennsylvania 
Academy of Fine Arts. It is interesting to note here that Samson 
and Moses Levy were the grandsons of Moses Levy, of New York, 
whose daughter Bilhah Abigail married Jacob Franks. Their por- 
traits in the collection of the Hon. N. Taylor Phillips have already 
been spoken of. The revelation of these portraits was in the nature 
of a surprise to Mrs. Bancroft, as she was quite unaware of their — 


existence. 


The fabric of romance is thus woven by these old portraits from 
ancestor to descendant. The story of that romance, if it could be 
told in its entirety, would constitute a fascinating chapter in the 
annals of ourcountry. There must still be countless portraits among 
the descendants of the early American Jews hanging, unknown, 
upon the walls of old mansions or galleries, or hidden in garrets 
and sequestered corners, for nearly every man of means had a por- 
trait painted of himself or of his relatives in an age when the char- 
acters and records of families were conveyed as much through the 
brush as through the pen. It is well that the memoirs of these peo- 
ple should be preserved, for among them were Jews who made 
notable contributions to the history of our country, and in the ab- 
sence of photographs and documentary records, these old portraits 
have a special significance, not merely from the sentimental point 


of view, but from their artistic and historical aspects. 


~-a6f 62 Ye 


IV 
ADDENDA 


INCE there is no available record of the portraits of early 
American Jews, I have thought it advisable to put into form 
whatever data I have been able to gather asa basis for further 

additions and discoveries which may appear from time to time. 
Except where otherwise indicated, the following, so far as I know, 
are portraits in oil. 


Record of Portraits 


BAER 


Israel B. Kursheedt, 1776-1852. Painted about 1846. 
Owned by the Misses Kursheedt, New York. 


This portrait is reproduced in a Masonic publication, “Robert W. Reid, 
Washington Lodge No. 21, A. F. and A. M., New York, 1911.” 


WILLIAM HENRY BROWN 


John Moss, 1771-1847. Silhouette. Attributed to Brown. 
Owned by J. Bunford Samuel, Esq., Philadelphia. 


ROBERT FEKE 


Mrs. Barnard Gratz (Richea Mears or Meyers), 1731-1801. Attributed 
to Feke by Lawrence Park. 


Owned by Dr. I. Minis Hays, Philadelphia. 
—-<6f 6 R feo 


PORTRAITS OF JEWS 


CHARLES BALTHAZAR JULIEN FEVRET 
pE ST. MEMIN 

Henry Alexander. Lived in Baltimore. Drawing made in 1803. 
Abraham Hart. Lived in New York. Drawing made in 1796. 

Samson Levy, Jr., 1761-1831. Son of Samson and Martha (Lampley) 

Levy. Drawing made in 1802. 
Owned by Mrs. Robert Hale Bancroft, Boston. 
Mrs. Samson Levy (Sarah Coates). Wife of Samson Levy, Jr. Drawing 


made in 1802. 
Mrs. Albert Bache, Philadelphia, has in her possession a small engraving of 
Mrs. Levy reduced from the original portrait. 


Mrs. Samson Levy (Martha Lampley), 1731-1807. Mother of Samson 
Levy, Jr. Drawing made in 1802. 
Owned by Mrs. Robert Hale Bancroft, Boston. 
Hyman Marks. Lived in Richmond, Va. Drawing made in 1805. 
Collection of the American Jewish Historical Society. 
Solomon Moses. Lived in New York. Drawing made in 1796. 


CHARLES FRASER 
Octavius Cohen. Painted 1836. Miniature. 


This miniature is listed in “Early American Portrait Painters in Miniature,” 
by Theodore Bolton. 
Mrs. Mordecai (Lucretia Cohen). Painted 1834. Miniature. 


Same as above. 


CHESTER P. HARDING 


Hayman Levy, (?)—1865. Painted 1838. 
Owned by Bunford Samuel, Esq., Philadelphia. 
Mrs. Hayman Levy (Almeria De Leon), 1799-1879, and Child. Painted 
1839. 
Owned by Bunford Samuel, Esq., Philadelphia. 


GEORGE PETER ALEXANDER HEALY 
Hyman Gratz, 1776-1857. 
Owned by Henry Joseph, Esq., Montreal, Canada. 
Joseph Gratz, 1758-1858. 
Owned by Henry Joseph, Esq., Montreal, Canada. 


—#6t 6.4. Be 


ADDENDA 


JAMES HERRING 
Naphtali Phillips, 1772-1870. 
Owned by Hon. N. Taylor Phillips, New York. 


DANIEL HUNTINGTON 
Seixas Nathan, 1785-1852. 
Owned by Clarence S. Nathan, Esq., New York. 


EMMA INMAN 


M. B. Seixas. Painted about 1840. 
Owned by John F. Braun, Esq., Philadelphia, Pa. 


HENRY INMAN 


Simon Nathan, 1746-1822. Water Color. Patriot in Revolution. 
Owned by Mrs. Annie Nathan Meyer, New York. 


Simon Nathan, 1746-1822. 
Owned by Miss Sarah Lyons, New York. 


Mrs. Simon Nathan (Grace Seixas), 1752-1831. Water Color. 
Owned by Mrs. Annie Nathan Meyer, New York. 


JOHN WESLEY JARVIS 


Solomon Etting, 1764-1847. 2614 x 33 inches. 
Collection of Maryland Historical Society. 

Mrs. Solomon Etting (Rachel Gratz), 1764-1831. 2634 x 32 inches. 
Collection of Maryland Historical Society. 


Jacob Mordecai, 1762-1838. 
Owned by Professor Samuel Mordecai, Durham, N. C. 


Major Mordecai Myers, 1776-1870. 


The owner of the original portrait is not known to me. The portrait is repro- 
duced in “Biographical Sketches of the Bailey-Myers-Mason Families, 1776— 


1905.” 
Mordecai M. Noah, 1785-1851. 30x 48 inches. 
Owned by Robert L. Noah, Esq., New York. 


~-a6f 65 eo 


PORTRAITS OF JEWS 


R. JEAN 


? Jacobs. Drawing made in 1813. 
Owned by Bunford Samuel, Esq., Philadelphia. 


JACOB H. LAZARUS 


Aaron Lopez Gomez, ?—1860. 

Owned by Mrs. Walter A. Dreyfous, New York. 
Mrs. Aaron Lopez Gomez (Hetty Hendricks), ?-1865. 

Owned by Mrs. Walter A. Dreyfous, New York. 
Mrs. Mordecai M. Noah, ?-?. 

Owned by Robert L. Noah, Esq., New York. 


EDWARD GREENE MALBONE 


Rachel Gratz, 1783-1823. Miniature. 
Owned by Mrs. John Hunter, Savannah, Ga. 
Rebecca Gratz, 1781-1869. Miniature. 
Owned by Miss Rachel Gratz Nathan, New York. 
David Moses. Miniature. 
Owned by Miss Rachel Gratz Nathan, New York. 
Mrs. Jacob Myers (Miriam Etting), 1787-1808. Miniature. 2 x 4 inches. 
Collection of the Maryland Historical Society. 


CHARLES WILLSON PEALE 


Colonel David Salisbury Franks, ?—about 1794. Painted 1776. Miniature. 
Owned by Mrs. Clarence I. De Sola, Montreal, Canada. 

Jonas Phillips, 1736-1803. Attributed to Peale. 
Collection of the American Jewish Historical Society, New York. 

Mrs. Jonas Phillips (Rebecca Machado), 1746-1831. Attributed to Peale. 
Owned by Isaac Graff, Esq., New York. | 


There is a copy of this portrait in the collection of the American Jewish His- 
torical Society. 


JAMES PEALE 


Frances Etting, 1771-?. 


Dinmore of Philadelphia, October, 1858, photographed the original portrait, 
which I have not been able to trace. } 


Reuben Etting, 1762-1848. 


Same as above. 


~-a6t 66 Pe 


ADDENDA 


REMBRANDT PEALE 

Judge Moses Levy, 1758-1826. 

Owned by J. J. Milligan, Esq., Baltimore, Md. 
Mrs. Moses Levy (Mary Pearce), 1763-1850. 

Owned by J. J. Milligan, Esq., Baltimore, Md. 
Mrs. Mordecai Sheftall (Frances Hart). Living in Charleston, S. C., 

1779. Miniature. 
Owned by Mrs. W. M. Brickner, New York. 


EDWARD F. PETTICOLAS 


Elihu Etting. Painted 1799. Miniature. 
Owned by the Pennsylvania Academy of Fine Arts. 


CHARLES PEALE POLK 


‘Barnard Gratz, 1738-1801. 
Owned by Dr. I. Minis Hays, Philadelphia, Pa. 


JOHN RAMAGE 


Joseph Simson, 1686-1787. Miniature. 
Owned by Mrs. Ansel Leo, Yonkers, New York. 


This portrait has been reproduced in ‘Publications of the American Jewish 
Historical Society,” Vol. 27. 


THOMAS BUCHANAN READ 


Commodore Uriah P. Levy, 1792-1862. Attributed to Read. 
Collection of Thomas Jefferson Home, at Monticello, Va. 


SIR JOSHUA REYNOLDS’ 


Miss Franks, ?—1802. Portrait of a child fondling a lamb. Daughter of 
Aaron Franks. Married Moses Franks. 


Moses Franks. Living in London in 1781. He was probably the brother 
of the well-known Rebecca Franks, as her brother, Moses, was 


living in London at this time. 
Photographic copies from the portraits of Miss Franks and Moses Franks are in 
the possession of the American Jewish Historical Society. 


1. Although painted by an English artist, the subjects are listed on account of the particular interest 


attached to this family. 
—-*8f 67 fe 


PORTRAITS OF JEWS 


JAMES SHARPLES 


Samuel Hays, 1764-1839. Pastel. 
Owned by Dr. I Minis Hays, Philadelphia, Pa. 


SEIXAS 


Mrs. Michael Marks (Johaveth Isaacs), 1767-18 52. 
Owned by Amelia J. Allen, Philadelphia, Pa. 


J. H. SHEGOGUE 


Jacob Hays, 1772-1830. 40 x 5oinches. High Constable of New York. 
Collection of the New York City Hall, Aldermanic Rooms. 


JOHN SMIBERT 
Rabbi Raphael Haijm Karigal, 1733-1777. 


A likeness of Karigal on ivory, probably by Smibert, was given to the late Rev. 
Jacques Judah Lyons. See ‘Publications of the American Jewish Historical 
Society,” Vol. 27, BII, pages 63-64. 


F. R. SPENCER 


Mrs. Joseph Andrews (Sally Salomon), 1779-1854. Daughter of Haym 
Salomon. Painted 1846. 
Owned by Miss Gertrude Dreyfous, New York. 


GILBERT STUART 


Colonel Isaac Franks, 1759-1822. Painted in Germantown, 1802. Canvas, 
29 x 24 inches. 
Owned by the Pennsylvania Academy of Fine Arts. 
Mrs. Michael Gratz (Miriam Simon), 1750-1808. Painted in Phila- 
delphia, 1802. Canvas, 28 x 24 inches. Half-length, seated. 
Owned by Henry Joseph, Esq,. Montreal, Canada. 
Judah Hays, 1772-1832. Painted in Boston about 1810. Panel, 2734 x 23 
inches, 


Owned by Mrs. William C. Preston, Richmond, Va. 


This portrait was partially destroyed, but has been restored. Mrs. Richard 
Frothingham O’Neil of Boston owns a copy of the original portrait. 


~-#f 68 fen 


ADDENDA 


Isaac Moses, 1742-1818. Father of Solomon Moses. Canvas, 30 x 25 
inches. Seated. 
Owned by Miss Rachel Gratz Nathan, New York. 


This portrait has been reproduced in “Publications of the American Jewish 
Historical Society,” Vol. 27. 


Solomon Moses, 1774-1857. Painted 1796. Canvas, 28 x 24 inches. 


Seated. 
Owned by Henry Joseph, Esq., Montreal, Canada. 


Mrs. Solomon Moses (Rachel Gratz), 1783-1823. Painted in 1806. Can- 
vas, 28 x 24 inches. Seated. 
Owned by Henry Joseph, Esq., Montreal, Canada. 


Moses Myers. Painted about 1808. Panel, 33 x 26% inches. Half- 
length, seated. 


Owned by Barton Myers, Esq., Norfolk, Va. 
This portrait is listed as “Mr. Mieres” in Mason’s book, “Life and Works of 
Gilbert Stuart,” on page 223. 


Mrs. Moses Myers (Eliza Judd or Judah). Painted about 1808. Panel, 
33 x 26% inches. Half-length, seated. 
Owned by Barton Myers, Esq., Norfolk, Va. 


This portrait is also listed in Mason on page 223 as “Mrs. Mieres,” 


Samuel Myers, 1775-1836. Painted about 1810. Panel, 25 x 30 inches. 
Bust. 


Owned by Mrs. John Hill Morgan, Brooklyn, New York. 


A copy is in the possession of Mrs. Richard Frothingham O’Neil, Boston. The 
original portrait is now on exhibition at the Brooklyn Art Museum. 


Jacob Rodriguez Rivera, 1717-1789. Painted about 1774. Canvas, 34% 
x 274 inches. Half-length, seated. 
Collection of Redwood Library, Newport, R. I. 


Abraham Touro, 1777-1822. Canvas, 27 x 22 inches. Bust. 
Owned by The Ehrich Galleries, New York. 


There is another Stuart portrait of Touro in the Massachusetts General Hos- 
pital, Boston, and the replica of this portrait is owned by Samuel W. Weis, Esq., 
Chicago. 


Isaac Touro. Father of Abraham and Judah Touro. 


There is no trace of this portrait which Stuart painted from memory after 


Touro’s death. 
—-<ff 69 Yeo 


PORTRAITS OF JEWS 


THOMAS SULLY 


Miss Etting. Painted 1808. 


This portrait is listed in “Life and Works of Thomas Sully,” by Biddle and 
Fielding. 


Miss Sally Etting. Painted 1808. 25 x 30 inches. 
Owned by Mr. Frank M. Etting, Philadelphia, Pa. 


Mrs. Solomon Etting (Rachel Gratz), 1764-1831. Painted 1835. 


This portrait is listed in “Life and Works of Thomas Sully,” by Biddle and 
Fielding. 


Benjamin Gratz, 1792-1884. Painted 1831. 17 x 20 inches. 
Owned by Mrs. Thomas Clay, Lexington, Ky. 


Mrs, Benjamin Gratz (Maria Cecil Gist), ?-1841. 
Owned by Mrs. Thomas Clay, Lexington, Ky. 


Michael Gratz, 1740-1811. Painted 1808. 
Owned by Henry Joseph, Esq., Montreal, Canada. 


Rebecca Gratz, 1781-1869. Painted 1831. 25 x 30 inches. 
Owned by Henry Joseph, Esq., Montreal, Canada. 


Rebecca Gratz, 1781-1869. Painted 1807. 


This portrait was copied from a miniature by Edward Greene Malbone, for 
Thomas A. Cooper, 1807. See “Life and Works of Thomas Sully,” Biddle 
and Fielding. 


Rebecca Gratz, 1781-1869. Painting begun 1830. 16x 19 inches. 
Owned by John Gribbel, Esq., Philadelphia, Pa. 


This portrait painted for Hyman Gratz was noted in Sully’s Register as 
“erased.”” However, it was probably finished. The portrait shows Miss Gratz 
wearing a turban or head-dress painted in by the artist. There is a tradition in 
the Gratz family that it was not accepted on that account. 


Rebecca Gratz, 1781-1869. Painted 1831. 17 x 20 inches. 
Owned by Mrs. Thomas Clay, Lexington, Ky. 


A copy of this portrait by a Kentucky artist hangs in the Jewish Foster Home, 
Germantown, Pa. 


Mrs. Isaac Hays (Sarah Anna Minis), 1811-1884. Painted 1833. 17 x 20 
inches. 
Owned by Mrs. Sarah Minis Goodrich, Princeton, N. J. 
Solomon Jacobs, 1775-1827. 
Owned by Mrs. William Averell Harriman, New York. 
Solomon Jacobs, 1775-1827. Painted 1812, in Masonic regalia. 


Owned by F. Boykin Jacobs, Esq., Richmond, Va. 
This portrait was engraved by I. A. O’Neill. 


—oafh 70 Yeo 


ADDENDA 
Mrs. S. Jacobs. Painted 1815. 


The owner of this portrait is not known to me. It is listed in Sully’s Register. 
Miss Henrietta Levy, 1792-1860. Daughter of Judge Moses Levy. 
Painted 1810. 20 x 24 inches. 
Owned by J. J. Milligan, Esq., Baltimore, Md. 


Mrs. Jacob Clavius Levy (Fanny Yates). Painted in 1842. 
Owned by the Corcoran Gallery of Art. 


Miss Martha Levy, 1798-?. Daughter of Judge Moses Levy. Painted 
1810. 19 x 23 inches. 
Owned by Mrs. Robert Hale Bancroft, Boston. 
This portrait was loaned to the Boston Museum of Fine Arts (1920). 
Samson Levy, Jr., 1761-1831. Brother of Judge Moses Levy. Painted 
1808. 241% x 29% inches. 
Owned by Mrs. Robert Hale Bancroft, Boston. 
This portrait was loaned to the Boston Museum of Fine Arts (1920). 
Mrs. Samson Levy, Jr. (Sarah Coates). Painted 1808. 2414 x 29% inches. 
Owned by Mrs. Robert Hale Bancroft, Boston. 
This portrait was loaned to the Boston Museum of Fine Arts (1920). 
Mrs. Hyman Marks, ?—?. Miniature. 
Owned by Grace N. Lederer, Philadelphia. 


Major Alfred Mordecai, 1804-1887. Painted 1836. 17 x 20 inches. 
Owned by Miss Mordecai, Philadelphia. 
Mr. Moses “of New York,” 1753-1843. Painted 1808. 


Owned by Miss Rachel Gratz Nathan, New York. 


This portrait of Mr. Moses listed in Sully’s Register is probably that of Moses 
I. or L. Moses, brother of Isaac Moses. According to Miss Gratz it was painted 
by Sully, but Lawrence Park has attributed the portrait to Gilbert Stuart. 


Mrs. Solomon Moses (Rachel Gratz), 1783-1823. 
Owned by Miss Rachel Gratz Nathan, New York. 
Gustavus A. Myers, 1801-1869. Painted 1865. 21 x 25 inches. 
Owned by Mrs. John Hill Morgan, Brooklyn, New York. 


This portrait is now on exhibition at the Brooklyn Art Museum. 


Mr. Myers. Lived in Norfolk, Va. Painted 1808. 


This portrait is that of John Myers, owned by Barton Myers, Esq., of 
Norfolk, Va. 


Miss Nones. Painted 1815. 


The owner of this portrait is not known to me. It is listed in Sully’s Register. 


~-a6f 71 Bee 


PORTRAITS OF JEWS 


JEREMIAH THEUS 


Manuel Josephson, 1729-1796. 
Owned by Dr. I. Minis Hays, Philadelphia. 


Mrs. Manuel Josephson (Ritzel Judah), ?-?. 
Owned by Dr. I. Minis Hays, Philadelphia. 


GEORGE THOMPSON 


Israel B. Kursheedt, 1776-1852. Painted 1842. 
Owned by the Misses Kursheedt, New York. 


ELKANAH TISDALE 


Major Mordecai Myers, 1776-1870. Miniature. 


This miniature is reproduced in “Biographical Sketches of the Bailey-Myers- 
Mason Families, 1776-1905.” 


BENJAMIN TROTT 
Benjamin I. Cohen, 1797-1845. Miniature, 4.x 5 inches. Attributed to 


Trott. 

Solomon Etting, 1764-1847. Miniature. 214 x4% inches (profile). 
Attributed to Trott. 

Solomon Etting, 1764-1847. Miniature, 2% x 4% inches (facing front). 
Attributed to Trott. 

Joseph Solomon, 1700-1780. Miniature, 114 x 4% inches. Attributed 
to Trott. 

These miniatures are in the Collection of the Maryland Historical 

Society. 


JOHN WOLLASTON 


Mrs. Isaac Mendes Seixas (Rachel Levy), 1710-1797. Attributed to Wol- 
laston by Lawrence Park. 
Owned by Hon. N. Taylor Phillips, New York. 


JOSEPH WOOD 


Samuel Etting, ?—?. Miniature. Attributed to Wood. 
Owned by the Pennsylvania Academy of Fine Arts. 


~a6f 72, Be 


ADDENDA 


UNKNOWN ARTISTS 


Abrahams, ?-?. 
Owned by Samuel Ewing, Esq., Philadelphia, Pa. 


Abraham Alexander, 1771-1844. 
There is a reproduction of this portrait in The New Age, a Masonic publica- 
tion. February, 1907. 

Joseph Andrews. Living in Philadelphia, 1804. 
Owned by Mrs. E. L. Goldbaum, Memphis, Tenn. 


Mrs. Joseph Andrews (Sallie Salomon), 1779-1854. Daughter of Haym 
Salomon. 


Owned by Mrs. E. L. Goldbaum, Memphis, Tenn. 
Mrs. Mathias Bush (Becky Meyers or Mears), ?—?. Miniature. 


There is a photograph of this miniature in the possession of Miss Mordecai, 
Philadelphia, Pa. 

Mrs. Benjamin I. Cohen (Kitty Etting), 1799-1837. Miniature. 
Collection of the Maryland Historical Society. 


Jacob Cohen, 1741-1808. 

Owned by J. Quintus Cohen, Esq., New York. 

See reproduction in “Jews of South Carolina,” by Dr. Barnett A. Elzas. 
Jacob Cohen, 1792-1858. 

Owned by Mrs. Alexander Hart, Norfolk, Va. 


Mordecai Cohen, 1763-1848. 25 x 30 inches. Half-length. 
Owned by Mrs. Francis D. Pollack, New York. 


Mrs. Mordecai Cohen (Leah Lazarus). 25 x 30 inches. Half-length. 
Owned by Mrs. Francis D. Pollack, New York. 


Mrs. Pollack writes that the Cohen portraits were painted by Theodore S. 
Moise and either John or Joshua Cantor, but it is not known who painted 
which! 


Mrs. Solomon Myers Cohen (Belle Simon). 

Owned by Henry Joseph, Esq., Montreal, Canada. 
Lorenzo Da Ponte, 1749-1837. 

Owned by Columbia University, New York. 


Jacob De Leon. Living in Kingston, Jamaica, 1790. Miniature. 
Owned by Bunford Samuel, Esq., Philadelphia, Pa. 


~<<fif 7 3 Hero 


PORTRAITS OF JEWS 


Unknown Artists (Continued ) 


Esther Andrews Dreyfous. Painted in 1828, with baby daughter in her 
arms. Granddaughter of Haym Salomon. 
Owned by Miss Gertrude Dreyfous, New York. 


Mrs. Solomon Etting (Rachel Gratz), 1764-1831. Miniature. 
Collection of the Maryland Historical Society. 


David Franks, 1720-1793, and Phila Franks, as children. 
Owned by Hon. N. Taylor Phillips, New York. 


There are two portraits of David with his sister Phila, as children, in this col- 
lection. 


Jacob Franks, 1688-1769. 
Owned by Hon. N. Taylor Phillips, New York. 


Mrs. Jacob Franks (Bilhah Abigail Levy), 1700 (?)-1750 (?). 
Owned by Hon. N. Taylor Phillips, New York. 


Phila Franks, 1722—?. Asa young lady. 
Owned by Hon. N. Taylor Phillips, New York. 


Rebecca Franks, 1758-1823. Painted by an English artist. 
This portrait is reproduced in a pamphlet on “The Jewish Woman in Amer- 
ica,” by Leon Huhner, A.M., LL.B. 

Rebecca Franks. Painted 1775. 
Owned by Mrs. Clarence I. De Sola, Montreal. 


Aaron Lopez Gomez, ?—1860. 
Owned by Edgar J. Nathan, Esq., New York. 


Benjamin Gomez, 1711-1772. Miniature. 
Owned by Edgar J. Nathan, Esq., New York. 


Isaac Gomez, Jr., 1768-1831 (?). Son of Moses and Esther Gomez. 


There is a photograph of this portrait in the collection of the American Jewish 
Historical Society, New York. 


Aaron Hart, 1724-1800. One of first Jewish Free Masons in America. 
Certificate of membership dated New York, June 10, 1760. 
Settled in Canada. 
This portrait is reproduced in “The Jew in Canada,” by Arthur Daniel Hart. 
Alexander Hart, ?-1838. 
Owned by Mrs. Alexander Hart, Norfolk, Va. 


~oa6f 74 Heo 


ADDENDA 


Bernard Hart, 1764-1855. A founder of New York Stock Exchange and 
its secretary for many years. 

Owned by estate of the late Theodore Myers, New York. 
This portrait is reproduced in “The Life of Bret Harte,” by H. C. Merwin, 
Boston, 1911. For some time the portrait hung in the offices of Messrs. Arthur 
Lipper & Co., New York, but at the present time it is probably in the posses- 
sion of Mr. Myers’ widow, Mrs. Benn V. La Rue, New York. 

Daniel Hart, ?—?. Miniature. 


Owned by Miss Isabel Cohen, New York. 


Mrs. Daniel Hart, ?—?. Miniature. 
Owned by Miss Isabel Cohen, New York. 


Barrah (?) Hays, ?-?. 
A photograph of this portrait is in the possession of the American Jewish His- 
torical Society, New York. 


Mrs. Isaac Hays (Rebecca Judah), ?-?. 
Owned by Miss Mordecai, Philadelphia, Pa. 


Moses Michael Hays, 1738-1805. Father of Judah Hays, whose portrait 
was painted by Stuart. 


A copy of the original portrait, which has been destroyed, is in the Masonic 
Temple, Boston. 


Uriah Hendricks, ?—?. Married 1826. 
Owned by Henry S. Hendricks, New York. 


Mrs. Uriah Hendricks (Fanny Tobias), ?—?. 
Owned by Henry S. Hendricks, New York. 


Joshua Isaacs, ?—1810. 
Owned by Mrs. Beatrice Phillips, New York. 


Mrs. Joshua Isaacs (Brandly Lazarus), ?-?. 
Owned by Mrs. Beatrice Phillips, New York. 


Moses Isaacks, 1727-1798. 
Owned by Dr. Francis Allen De Ford, Philadelphia. 


Israel Israel, 1743-1821. 
Owned by Arthur G. Ellet, Esq., Kansas City. 


Mrs. Israel Israel (Hannah Erwin), 1757-1813. 
Owned by Arthur G. Ellet, Esq., Kansas City. 


~-<6f 75 bene 


PORTRAITS OF JEWS 


Unknown Artists (Continued) 
Israel Israel, 1743-1821. Pastel. 
Owned by Mrs. James Alden Valentine, Walpole, Mass. 


Mrs. Israel Israel (Hannah Erwin), ?—?. Pastel. 
Owned by Mrs. James Alden Valentine, Walpole, Mass. 


Israel Israel, 1743-1821. 
Grand Master’s Room, Masonic Temple, Philadelphia, Pa. 


Israel Jacobs, 1714-1810. 
Collection of the American Jewish Historical Society, New York. 
Myer Jacobs, ?—?. Lived in Charleston, S. C. Painted about 1815. 


There is a photograph of this portrait in the possession of Dr. Barnett A. Elzas, 
New York. 


Naphtali Judah, 1774-?. 
This portrait is reproduced in a Masonic publication—“Robert W. Reid, 
Washington Lodge, No. 21, A. F. and A. M., New York, 1911.” 


Rabbi Raphael Haijm Karigal, 1733-1778. Lived in Newport, 1775. 


Owned by MacGregor Jenkins, Esq., Dover, Mass. 


Aaron Levy, 1742-1815. Miniature. 
Owned by Dr. A. S. W. Rosenbach, New York. 


Aaron Levy, 1742-1815. 
Owned by the Clay family, Lexington, Ky. 


Mrs. Aaron Levy (Rachel (?), ?—?. 
Owned by J. Bunford Samuel, Esq., Philadelphia, Pa. 


Abraham Levy, ?-?. 
Owned by Herbert T. Ezekiel, Esq., Richmond, Va. 


Mrs. Abraham Levy (Rachel Barnard). Painted 1835. 
Owned by Herbert T. Ezekiel, Esq., Richmond, Va. 


Moses Levy, 1665-1728. 
Owned by Hon. N. Taylor Phillips, New York. 


Samson Levy, Sr., 1723-1781. Miniature. 
This miniature was formerly owned by Mr. Frank Adams, of Philadelphia. It 
is now possibly in the possession of his descendant, Robert Adams, Philadelphia. 
Zipporah Levy, 1760-1832. 
Owned by Hon. N. Taylor Phillips, New York. 
Aaron Lopez, 1731-1782. 
This portrait has been reproduced in “Publications of the American Jewish 
Historical Society,” Vol. 27. 
— oat 76 eo 


—— 


. 
am 
p Te _ = =, - 
ee a a a ee ee 


ADDENDA 


David Lopez. Lived in Charleston, S.C. Painted about 1800. 
A photograph is in the possession of Dr. Barnett A. Elzas, New York. 

Sarah Lopez (Mrs. Aaron Lopez) and son Joshua, ?—?. 
A photographic copy is in the possession of the American Jewish Historical 
Society, New York. 

Jacob Lyon, 1777-1851. 
A photograph of the original portrait is in the possession of Mrs. Louisa B. 
Lapin, Harrisonburg, Va. 

Solomon Marache. Living in Philadelphia 1760. Miniature. 
Owned by Rev. Bent, Philadelphia, Pa. 


Solomon Marache. Living in Philadelphia 1760. 
Owned by Mrs. George Knox M. MclIlwain, Philadelphia, Pa. 


Mrs. Solomon Marache, ?-?. 
Owned by Mrs. George Knox M. MclIlwain, Philadelphia, Pa. 


Isaac C. Moses, ?—1834. Miniature. 


Miss Eleanor S. Cohen, of Baltimore, possesses a photographic copy of this 
miniature. 


I. S. Moss, ?—?. 
Owned by the Jewish Maternity Hospital, Philadelphia. 


John Moss, 1771-1847. 

Owned by Frank Samuel, Esq., Philadelphia. 
Samuel Myers, 1775-1836. Miniature. 

Owned by Mrs. Edward Cohen, Washington, D. C. 


Major Benjamin Nones, 1757-1826. 
Owned by Walter M. Nones, Esq., Long Island City, New York. 


Mrs. Benjamin Nones (Miriam Marks), 1764-1822. 
Owned by Walter M. Nones, Esq., Long Island City, New York. 
Jacob Philadelphia, ?-1735. 


A photographic copy from his portrait is in the possession of the American 
Jewish Historical Society. 


Aaron Phillips, ?-1826. 
Owned by Hon. N. Taylor Phillips, New York. 


Deborah Salomon, ?—1808. Pastel. Daughter of Haym Salomon. 
Owned by Mrs. Maria Moss, Brookline, Mass. 


—-<f Ly eo 


PORTRAITS OF JEWS 


Unknown Artists (Continued) 


Mrs. Philip Schuyler (Shinah Simon), ?—?. Wax portrait. 
Owned by Henry Joseph, Esq., Montreal, Canada. 


Capt. Abraham Seixas, 1759-1799. 
Owned by the Congregation Shearith Israel, New York. 


This portrait is reproduced in the “Jews of South Carolina,” by Dr. Barnett A. 
Elzas. 


Rev. Gershom Mendes Seixas, 1745-1816. Miniature. 
Owned by Mrs. Annie Nathan Meyer, New York. 


Rev. Gershom Mendes Seixas, 1745-1816. 


A reproduction of a bas-relief of Mr. Seixas appears in the “Historical Sketch 
of the Congregation Mikve Israel,” by Dr. A. S. W. Rosenbach. 


Rachel Hannah Seixas, 1773-?. Miniature. 
Owned by Hon. N. Taylor Phillips, New York. 


Mordecai Sheftall, 1735-1797. Miniature. 
Owned by Edmund H. Abrahams, Esq., Savannah, Ga. 


Mrs. Mordecai Sheftall (Frances Hart). Living in Charleston, S. C., 
1779. Miniature. 
Owned by Edmund H. Abrahams, Esq., Savannah, Ga. 


Sheftall Sheftall, ?-1848. Son of Mordecai Sheftall. Woodcarving. 
A reproduction may be found in White’s “Historical Collections of Georgia.” 
Joseph Simon, 1712-1804. Silhouette. 
Owned by Henry Joseph, Esq., Montreal, Canada. 


Levy Solomons. Maintained a home in Albany, New York, but lived for 
the most part in Canada. 
This portrait is reproduced in “The Jew in Canada,” by Arthur Daniel Hart. 


Judah Touro, 1775-1854. 
Owned by the Redwood Library, Newport, R. I. 


Judah Touro, 1775-1854. 
Touro Infirmary, New Orleans, La. 


Judah Touro, 1775-1854. Water Color. 
Owned by Amelia Kursheedt, New Orleans, La. 


—<6f 78 Peo 


d 
j 
3 
: 


CL ae 


BIBLIOGRAPHY 


Bipp.e, Epwarp, and MantTte Fiexpine. Life and Works of Thomas Sully. 
Philadelphia, 1922. 


Botton, CHARLEs KNow tes. The Founders. Boston, 1919. 
Bo.ton, ETHEL STaNwoop. Wax Portraits and Silhouettes. Boston, 1915. 


Botton, THEoporE. Early American Portrait Painters in Miniature. New York, 
1921. 


Dun wap, WiiiaM. History of the Arts of Design in the United States. Edited 
by Bayley and Goodspeed. Boston, 1918. 


E.vueT, E. F. Women of the American Revolution. Vol. I. New York, 1848. 
Exzas, Dr. Barnett A. The Jews of South Carolina, Philadelphia, 1905. 


EZEKIEL, HERBERT T., and LicHTENsTEIN, Gaston. The History of the Jews 
of Richmond. Richmond, 1917. 


FEVRET DE SAINT-MEmIn, CHar-Es B. J. The St.-Mémin Collection of Portraits. 
New York, 1862. 


Hart, ArtHur Danieé-. The Jew in Canada. Toronto, 1926. 
Homes, ABIEL. Life of Ezra Stiles. Boston, 1798. 

IsHAM, SAMUEL. History of American Painting. New York, 1905. 
JEwisH ENCYCLOPEDIA. 


Lrrerary Diary oF Ezra STILEs, PRESIDENT OF YALE COLLEGE. Yale Corpora- 
tion. New York, 1901. 


MarkeEns, Isaac. The Hebrews in America. New York, 1888. 

Mason, GeorcE C. Life and Works of Gilbert Stuart. New York, 1879. 
Morais, Henry S. The Jews of Philadelphia. Philadelphia, 1892. 

Park, Lawrence. Gilbert Stuart. William Edwin Rudge, New York, 1926. 
PUBLICATIONS OF THE AMERICAN JEWISH Historica Society, Vols. 1-27. 


SuLty, THomas. Register of Portraits painted by Thomas Sully, 1801-1871. 
Edited by Charles Henry Hart, Philadelphia, 1909. 
TuckERMAN, Henry T. Book of the Artists. New York, 1867. 


Wuarton, AnnE H. Heirlooms in Miniature. Philadelphia, 1898. 
Wuarton, Anne H. Salons Colonial and Republican. Philadelphia, 1900. 


—oaff 79 eon 


PLATES 


JACOB FRANKS 
Owned by Hon. N. Taylor Phillips, New York 


~<a 83 } aes 


MRS. JACOB FRANKS 


illips, New York 


Taylor Ph 


Owned by Hon. N. 


DAVID AND PHILA FRANKS 
Owned by Hon. N. Taylor Phillips, New York 


~-86f 87 fe 


PHILA FRANKS 
Owned by Hon. N. Taylor Phillips, New York 


—oafit 89 feo 


MOSES LEVY 
Owned by Hon. N. Taylor Phillips, New York 


- if gI Heo 


a4) 


MRS. ISAAC MENDES SEIXAS 


Attributed to JouHN WoLLASTON 


Owned by Hon. N. Taylor Phillips, New York 


2 


RABBI RAPHAEL HAIJM KARIGAL 
Owned by MacGregor Fenkins, Esq., Dover, Mass. 


—-<it 95 bee 


Ne 


~~ 


TD AIRGAS S) DRAG Ib Sys) 
(Friend of the Fews) 


SAMUEL KING 


-- <i 97 diesen 


MOSES MICHAEL HAYS 


Masonic Temple, Boston 


2) 
= 


—-o-3! 
G 


los 


Ore 


6) 
\ 
(>) 


y 


—s— 


eh) 


ISRAEL JACOBS 


Owned by the American Fewish Historical Society 


—o<fif TO Heo 


e 


POUNAS PHILLIPS 


Attributed to CHARLES WILLSON PEALE 


Owned by the American Fewish Historical Society 


=) 
a 


MRS. JONAS PHILLIPS 


Attributed to CHARLES WILLSON PEALE 
Owned by Isaac Graff, Esq., New York 


--<it 105 Heron 


nt me 


COMMODORE URIAH P. LEVY 


Attributed to THoMAS BucHANAN READ 


Thomas Fefferson Home, Monticello, Va. 


— aft 107 feo 


JUDGE MOSES LEVY 


REMBRANDT PEALE 


Owned by F. f. Milligan, Esq., Baltimore 


—-<if 109 Hee 


ISRAEL ISRAEL 
Owned by Arthur G. Ellet, Esq., Kansas City 


© 


~ os Hiatal ioe ees 


— 


% 
iy 


MRS. LS RAE LS RAE L 
Owned by Arthur G. Ellet, Esq., Kansas City 


—-<fif T 13 He 


A 


MRS. AARON LEVY 
Owned by }. Bunford Samuel, Esq., Philadelphia 


JOHN MOSS 


Attributed to W1tt1AM Henry Brown 
Owned by }. Bunford Samuel, Esq., Philadelphia 


~-it ie 5 feo 


x - : oi nates 
t ‘ 
one. a 5 iy = 

> Z ? x 
, : 
ae 
2 Es 
: 4 

a , 
Sar 

+ 
. 
‘; 


MANUEL JOSEPHSON 


JereMIAH THEUS 


Owned by Dr. I. Minis Hays, Philadelphia 


—if II 7 Veo 


MRS. MANUEL JOSEPHSON 


JeReMIAH THEUS 


Owned by Dr. I. Minis Hays, Philadelphia 


—<fif II 9 Hee 


BARNARD GRATZ 


Cuares PEALE PoLk 
Owned by Dr. I. Minis Hays, Philadelphia 


~<a I21 fe 


MRS. BARNARD GRATZ 


Attributed to ROBERT FEKE 
Owned by Dr. I. Minis Hays, Philadelphia 


-<fif i 28 his oe 


%, 


JOSEPH ANDREWS 
Owned by Mrs. E. L. Goldbaum, Memphis 


—-<if T 25 feo 


MRS. JOSEPH ANDREWS 
Owned by Mrs. E. L. Goldbaum, Memphis 


—<fif I a7 been 


= 
<4 


MORDECAI MANUEL NOAH 


Joun WeEsLeEy Jarvis 


Owned by Robert L. Noah, Esq., New York 


-<fif 129 Peon 


5 oh 


MAJOR MORDECAI MYERS 


Joun WEsLEy Jarvis 


MRS. SOLOMON ETTING 


Joun WeEs-eEy Jarvis 


Owned by the Maryland Historical Society 


—~ <i T 33 eon 


SOLOMON ETTING 


Joun Wes-ey JARVIS 


Owned by the Maryland Historical Society 


—oaif Lies eo 


eae 
+ 
+ 
s a) 
vi 
+ 

. as 
ee 
; é 4 

. 

x 

~ 5 . 


MRS. SAMSON LEVY, SR. 


Fevrer DE Sr. Mémin 
Owned by Mrs. Robert Hale Bancroft, Boston 


—-<if Lene been 


SAMSON LEVY, JR. 


Fevret DE St. MémIn 


Owned by Mrs. Robert Hale Bancroft, Boston 


—oit 139 ie 


COLONEL DAVID SALISBURY FRANKS 


Cuaries WILLSON PEALE 
Owned by Mrs. Clarence I. De Sola, Montreal 


JACOB DE LEON 
Owned by Bunford Samuel, Esq., Philadelphia 


~<a TAT }3 ae 


MOSES 


ISAAC C 


RACHEL (GRATZ) ETTING 
Owned by the Maryland Historical Society 


SOLOMON ETTING 


Attributed to BENJAMIN TROTT 
Owned by the Maryland Historical Society 


ehh lo 
~-ait 147 fe 


BENJAMIN I. COHEN 


Attributed to BENJAMIN TROTT 
Owned by the Maryland Historical Soctety 


wh | rows, © bo bd 


JOSEPH SOLOMON 


Attributed to BENJAMIN TROTT 
Owned by the Maryland Historical Society 


-» <i I51 fee 


MIRIAM (ETTING) MYERS 


EpwarpbD GREENE MALBONE 


Owned by the Maryland Historical Society 


RACHEL GRATZ 


Epwarpb Greene MALBone 


Owned by Mrs. fohn Hunter, Savannah, Ga. 


REBECCA GRATZ 


EpwarbD GREENE MALBONE 
Owned by Miss Rachel Gratz Nathan, New York 


--<fif Ss Jeo 


JACOB RODRIGUEZ RIVERA 


GILBERT STUART 


Owned by the Redwood Library, Newport 


—o<fit T oo feo 


SAMUEL MYERS 


GILBERT STUART 


Owned by Mrs. Fohn Hill Morgan, Brooklyn 


acetal lone 
at 159 ys 


JUDAH HAYS 


GILBERT STUART 


Owned by Mrs. William C. Preston, Richmond, Va. 


—-fif T 61 Heo 


MOSES MYERS 


GILBERT STUART 
Owned by Barton Myers, Esq., Norfolk, Va. 


=o. 


ns 


a 
a, 


— 


I 63 Heo 


° 


el at 


MRS. MOSES MYERS 


GILBERT STUART 
Owned by Barton Myers, Esq., Norfolk, Va. 


COLONEL ISAAC FRANKS 


GILBERT STUART 


Owned by the Pennsylvania Academy of Fine Arts 


MRS. SOLOMON MOSES 


GILBERT STUART 


Owned by Henry Joseph, Esq., Montreal 


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SOLOMON MOSES 


GILBERT STUART 


Owned by Henry Foseph, Esq., Montreal 


~~ I 7 I Heo 


MRS. MICHAEL GRATZ 


GILBERT STUART 


Owned by Henry Foseph, Esq., Montreal 


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LOSE PH AG RAT? 


Georce P. A. Heaty 
Owned by Henry foseph, Esq., Montreal 


REBECCA GRATZ 


Tuomas SULLY 


Owned by Henry Foseph, Esq., Montreal 


MICHAEL GRATZ 


Tuomas SULLY 


Owned by Henry Foseph, Esq., Montreal 


—-<it ii 79 fee 


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MYERS 


As SULLY 
Owned by Mrs. Fohn Hill Morgan, Brooklyn 


GUSTAVUS A 


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) LEVY 


Tuomas SULLY 


FANNY (YATES 


) of Art 


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Owned by the Corcoran Galler 


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MAJOR ALFRED MORDECAI 


From pencil sketch by Kares of portrait by THomas SuLiy 
Owned by Miss Mordecai, Philadelphia 


—-<it I 85 Heo 


SOLOMON JACOBS 


Tuomas SULLY 


Owned by Mrs. William A. Harriman, New York 


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SAMSON LEVY, JR. 


Tuomas SULLY 
Owned by Mrs. Robert Hale Bancroft, Boston 


—-<fif I 89 feo 


INDEX 


Abrahams, !, 73 

Abrahams, Edmund H., 78 

Adams, Frank, 76 

Adams, Robert, 76 

Alexander, Abraham, 73 

Alexander, Henry, 39, 64 

Allen, Amelia J., 68 

Allston, Washington, 45 

American Jewish Historical Society, 23, 39, 
a0 U nO 7,.08, 00, 74, 75, 76, 77, 101, 
103 

Andrews,. Joseph, 35, 36, 73, Port. 125 

Andrews, Mrs. Joseph (Sallie Salomon), 
Bopes0w. 08,73, Port. 127 

Andrews, Joseph Franklin, 35 

Andrews, Joseph I., 35 

Ascher, Rycha, 16 


Bache, Mrs. Albert, 39, 64 

Baer, !, 63 

Bancroft, Mrs. Robert Hale, 16, 39, 61, 
Go 704, 71,137, 139, 189 

Bayley, Frank W., 22, 24, footnote 49, 50 

Becketts, 14 

Bent, Rev., 77 

Bolton, Ethel Stanwood, 32 

Bolton, Theodore, 64 

Boston Masonic Temple, 21 

Boston Museum of Fine Arts, 71 

Braun, John F., 65 

Brickner, Mrs. W. M., 67 

Brooklyn Art Museum, 58, 69, 71 

Brown, William Henry, 32, 63, 115 

Bruces, 14 

Bush, Mrs. Mathias (Becky Meyers or 
Mears), 73 


Cantor; John, 73 

Cantor, Joshua, 73 

Clay Family, 31, 76 

Clay, Henry, 57 

Clay, Mrs. Thomas, 57, 70 

Cline, Dr. I. M., 48, 49, 69 

Cohen, Benjamin I., 42, 43, 72, Port. 149 
Cohen, Mrs. Benjamin I. (Kitty Etting), 


42, 73 
Cohen, Mrs. Edward, 77 


Cohen, Miss Eleanor S., 42, 77 

Cohen, Elkaly, 18 

Cohen, Miss Isabel, 75 

Cohen, Israel I., 43 

Cohen, J. Quintus, 73 

Cohen, Jacob’, 73 

Cohen, Jacob’, 73 

Cohen, Mordecai, 73 

Cohen, Mrs. Mordecai (Leah Lazarus), 73 

Cohen, Octavius, 64 

Cohen Room, in the Maryland Historical 
bociety,42)°43° . 

Cohen, Mrs. Solomon Myers (Belle Simon), 
73 

Columbia University, 73 

Copley, John Singleton, 8, 19 

Corcoran Gallery of Art, 40; 58, 71, 183 

Cruger, Col. John Harris, 13 


Dacosta, Isaac, footnote 39 

Da Ponte, Lorenzo, 73 

De Falk, Dr. Samuel, Rabbi, 8 

De Ford, Dr. Franeis Allen, 75 

De La Motta, Captain, 42 

De Lancey, Charlotte, 12; General Oliver, 
Cave sy Olivers s|t. La morephen,, 135 
Susan, 12; Sir William Howe, 13 

De Leon, Jacob, 42, 73, Port. 141 

De-Sola,, Mrs. Clarence: 1., 42, 66, 74, 141 

Draper, Lieut. General Sir William, 12 

Dreyfous, Esther Andrews, 74 

Dreyfous, Gertrude, 68, 74 

Dreyfous, Mrs. Walter A., 66 


Ehrich Galleries, The, frontispiece, foot- 
note 48, 69 

Ellet, Arthur G., 26, 75, 111, 113 

Ellet, Charles, 28 

Ele, Charles, Jr:, 23 

Ellet, Mrs. Elizabeth F., 14, 27 

Ellet, Mary, 28, 29 

Ellet, Mary Virginia (Mrs. Cabell), 28 

Elzas)) Dr. Barnett At, 42; 73,76, 775 73 

Etting, Miss, 70 

Etting, Elihu, 67 

Etting, Elijah, 43, 44 

Etting, Frances, 66 


-><fif iT 93 ben 


INDEX 


Etting, Frank M., 70 

Etting, Reuben, 66 

Etting, Sally, 70 

Etting, Samuel, 72 

Etting, Solomon, 38, 43, 44, 65, 72, Ports. 
135,147 

Etting, Mrs. Solomon (Rachel Gratz), 38, 
43, 44, 65, 70, 74, Ports. 133, 145 

Evans, 14 

Evans, Margaret, 13 

Ewing, Samuel, 73 

Ezekiel, Herbert T., 76 


Feke, Robert, 34, 63, 123 

Fevret de St. Mémin, 39, 40, 62, 64, 137, 
139 

Florance, Mrs. Benjamin, 49 

Florance, Ernest ‘Touro, 49 

Franks, Aaron, 67 

Franks, Abigail, 14 

Franks, David,10, 11,12, 13,14, 74, Port.87 

Franks, Col. David Salisbury, 41, 66, Port. 
I41 

Franks, Col. Isaac, 53, 68, Port. 167 

Franks, Jacob, 8, 9, 16, 62, 74, Port. 83 

Franks, Mrs. Jacob (Bilhah Abigail Levy), 
8, 10, 62; 74, Port ss 

Franks, Jacob, son of David, 15 

Franks, Miss, 67 

Franks, Mary (“Polly”), 14 

Franks, Moses, 15, 67 

Franks, Phila; 10; 11,12, 13, 14, 74, Ports, 
87, 89 

Franks, Rebecca, 14, 15, 74 

Franks, Rebecca, 74 

Franks, Samuel, 53 

Franks, Sara, 53 

Fraser, Charles, 64 


Gibson, Henry C., 53 

Goldbaum, Mrs. E. L., 35, 73, 125, 127 

Gomez, Aaron Lopez, 66, 74 

Gomez, Mrs. Aaron Lopez (Hetty Hen- 
dricks), 66 

Gomez, Benjamin, 74 

Gomez, Isaac, Jr., 74 

Goodrich, Mrs. Sarah Minis, 70 

Graff, Isaac, 23, 66, 105 

Gratz, Barnard, 34, 67, Port. 121 

Gratz, Mrs. Barnard (Richea Meyers or 
Mears)3*3.4; 63, 20rt. $23 


Gratz, Benjamin, 57, 70 

Gratz, Mrs. Benjamin (Maria Cecil Gist), 
57379 

Gratz, Hyman, 55, 64, 70 

Gratz, Joseph, 54, 55, 64, Port. 175 

Gratz, Michael, 34, 355 53 54) 55, 50 575 
70, Port. 179 

Gratz, Mrs. Michael (Miriam Simon), 35, 
54, 68, Port. 173 

Gratz, Rachel (Mrs. Solomon Moses), 45, 
53> 54, 66, 69, 71, Ports. 155, 169 

Gratz, Rebecca, 44, 455 54) 55> 56, 66, 70, 
Portse1 $5500 7g 

Gratz, Simon, 55 

Gribbel, John, 70 


Hamilton, Andrew, 14 

Harding, Chester P., 64 

Harriman, Mrs. William Averell, 60, 70, 
137 

Hart, Aaron, 74 

Hart, Abraham, 39, 64 

Hart, Alexander, 74 

Hart, Mrs. Alexander, 73, 74 

Hart, Arthur Daniel, 74, 78 

Hart, Bernard, 75 

Hart, Charles Henry, footnote 49 

Hart, Danielpgs 

Hart, Mrs. Daniel, 75 

Hays, Anne, 60 

Hays, Batra — 5 

Hays, Dr. I. Minis, 32, 33, 34, 63, 67, 68, 
72, 1175 119) 12 1ahes 

Hays, Mrs. Isaac (Rebecca Judah), 75 

Hays, Mrs. Isaac (Sarah Anna Minis), 70 

Hays, Jacob, 68 

Hays, Judah, 21, 51, 52, 57, 68, Port. 161 

Hays, Judith, 50 

Hays, Moses Michael, 21, 22, 51, 75, Port. 
2) 

Hays, Rena, 48 

Hays, Samuel, 34, 68 

Hays, Mrs. Samuel (Richea Gratz), 34, 68 

Healy, G. Ps Ac, 545 55; 045-895 

Hendricks, Henry S., 75 

Hendricks, Uriah, 75 

Hendricks, Mrs. Uriah (Fanny Tobias), 75 

Herring, James, 18, 65 

Hoes, Peter S., 37 

Hoffman, Matilda, 44 

Holmes, Abiel, 19 


~<a T 9 4 eon 


INDEX 


Huffnagel, G. W., 53 

Huhner, Leon, 15, 74 

Hunter, Mrs. John, 45, 66, 155 
Huntington, Daniel, 65 


Inman, Emma, 65 

Inman, Henry, 36, 65 

Irving, Washington, 44 

Isaacs, Joshua, 75 

Isaacs, Mrs. Joshua (Brandly Lazarus), 75 

Isaacks, Moses, 75 

istaclpieriel, 20, 27, 28, 29, 30, 75, 76, 
Port. 111 

Israel, Mrs. Israel (Hannah Erwin), 26, 
27728; 75, 70; Port. 113 

Israel, Mary, 28, 29 

Israel, Michael, 27-30 

Israel, Mrs. Michael (Mary J. Paxton), 
27, 29, 30 


Jacobs, ?, 66 

Jacobs, F. Boykin, 60, 70 

Jacobs, Israel, 22,76, Port. 101 

Jacobs, Myer, 76 

Jacobs, Solomon, 60, 61, 70, Port. 187 

Jacobs, Mrs. Solomon, 71 

james-G. PR; 57 

Jarvis, John Wesley, 36, 38, 43, 59, 65, 
129, 131, 133, 135 

Jean, R., 66 


Jefferson, Thomas, Memorial Foundation, 


24 
Jefferson, Thomas, Home of, 24, 67, 107 
Jenkins, MacGregor, 20, 21, 76, 95 
Jewish Foster Home, Germantown, Pa., 70 
Jewish Maternity Hospital, Philadelphia, 


ef 

Johnson, Lieut. Col. Henry, 15 

Joseph, Henry, 53-56, 64, 68, 69, 70, 73; 
78, 169, 171, 173, 175, 177, 179 

Josephson, Manuel, 33, 72, Port. 117 

Josephson, Mrs. Manuel (Ritzel Judah), 
Aaa 72. Port.119 

Judah, Naphtali, 76 

Judah, Samuel, 52 


Karigal, Rabbi Raphael Haijm, 19, 20, 21, 
48, 68, 76, Port. 95 

Kendall, Mrs. Elvira Augusta E]let, 27 

King, Samuel, 21, 97 

Kuhn, 14 


Kuper, Theodore F., 24 
Kursheedt, The Misses, 63, 72 
Kursheedt, Amelia, 78 
Kursheedt, Gershom, 49 
Kursheedt, Israel B., 63, 72 


Lapin, Mrs. Louisa B., 77 

La Rue, Mrs. Benn V., 75 

Lazarus, Jacob H., 66 

Lederer, Grace: N/, 71 

Leo, Mrs. Ansel, 67 

Levy, Aaron, 30, 31, 76 

Levy, Mrs. Aaron (Rachel ?), 30, 31, 76, 
Port. 115 

Levy, Abraham, 76 

Levy, Mrs. Abraham (Rachel Barnard), 76 

Levy, Benjamin, 17 

Levy, Eugenia (Mrs. Philip Phillips), 58. 


59 

Levy, Fanny Yates (Mrs. Jacob Clavins 
Levy )o25 3215 07 150F Ort 183 

Levy, Hayman, 64 

Levy, Mrs. Hayman (Almeria De Leon), 64 

Levy, Henrietta, 61, 71 

Levy, Isaac, 16 

Levy, Jacob Clavius, 58, 71 

Levy, Jefferson M., 24 

Levy, Judith, 17 

Levy, Jochabed, 17 

Levy, Martha, 61, 71 

Levy, Moses, 8, 15, 16, 62, 76, Port. 91 

Levy, Judge Moses, 25, 61, 62, 67, Port. 
109 

Levy, Mrs. Moses (Mary Pearce), 25, 67 

Levy, Samson, Sr., 25, 61, 76 

Levy, Mrs. Samson, Sr. (Martha Lampley), 
39, 64, Port. 137 

Levy, Samson, Jr., 39, 61, 62, 64, 71, Ports. 
139, 189 

Levy, Mrs. Samson, Jr. (Sarah Coates), 39, 
61,64; 71 

Levy, Samuel Yates, 59 

Levy, Commodore Uriah P., 23, 24, 67, 
Port. 107 

Levy, Zipporah, 18, 76 

Lopez, Aaron, 76 

Lopez, David, 77 

Lopez Family, 47 

Lopez, Sarah, 77 

Lyle, Mrs. James, 14 

Lyon, Jacob, 77 


—-<it T 95 Heo 


INDEX 


Lyons, Rev. Jacques Judah, 68 
Lyons, Sarah, 65 


Macbeth Gallery, 60 

Machado, Rev. David Mendes, 22 

Machado, Rebecca, 22 

Machado, Zipporah Nunez, 22 

Mahan, 14 

Malbone, Edward Greene, 36, 43, 44, 45, 
47, 56, 66, 153, 155 

Marache, Solomon, 77 

Marache, Mrs. Solomon, 77 

Marks, Hyman, 39, 64 

Marks, Mrs. Hyman, 71 

Marks, Mrs. Michael (Johaveth Isaacs) 68 

Maryland Historical Society, 38, 42-44, 65, 
66, 72-74, 133, 135, 145, 147, 149, 
151,153 

Mason, George C., 48, 69 

Masonic Temple, Boston, 75, 76, 99 

Masonic Temple, Philadelphia, 76 

Mass. General Hospital, 69 

Mears, Grace, 16 

Mendes, Field Marshal Sir David, 12 

Merwin, H. C., 75 

Meyer, Mrs. Annie Nathan, 65, 78 

Meyers (or Mears), Sampson, 34 

Mikve Israel Congregation, 18, 23, 33, 34, 
55 

Milligan, [c; 25; Of G7. 71, a Oo 

Minis, Mrs. Eugenia Phillips Myers, foot- 
note 58 

Moise, Theodore C., 73 

Mordecai, Miss, 60, 71, 73, 75, 185 

Mordecai, Mrs. (Lucretia Cohen), 64 

Mordecai, Major Alfred, 59, 60, 71, Port. 
185 

Mordecai, Mrs. Alfred (Anne Hays), 60 

Mordecai, Jacob, 36, 59, 65 

Mordecai, Mrs. Jacob (Judith Myers), 36 

Mordecai, Mrs. Jacob (Rebecca Myers), 36 

Mordecai, Professor Samuel, 36, 65 

Morgan, John Hill, 51, footnote 58 

Morgan, Mrs. John Hill, 50, 58, 69, 71, 
159; 181 

Morris, 14 

Moses, Mr., 71 

Moses, David, 66 

Moses, Isaac, 69, 71 

Moses, IsaaciCi425,00,07 Wore td 4 

Moses, Sarah Gratz, 54 


Moses, Solomon, 39, 54, 64, 69, Port. 171 

Moses, Mrs. Solomon, see Gratz, Rachel 

Moss, I. S., 77 

Moss, John, 31, 32, 6397 ¢eor tien 

Moss, Mrs. Maria, 77 

Muhlenberg, Rev. Henry, 29, 30 

Myers, Barton, 52, 71, 69, 163, 165 

Myers,: Major E. ToDauga 

Myers, Gustavus A., 57, 58, 71, Port. 181 

Myers, Mrs. Gustavus A., 57 

Myers, Henrietta, 37 

Myers, Hyman, 52 

Myers, Jacob, 44 

Myers, John, 71 

Myers, Miriam Etting (Mrs. Jacob Myers), 
44, 66, Port. 153 

Myers, Major Mordecai, 37, 65, 72, Port. 
131 

Myers, Mrs. Mordecai (Charlotte Bailey), 37 

Myers, Moses, 52, 69, Port. 163 

Myers, Mrs. Moses (Eliza Judd or Judah), 
§ 25°53; 00;:P Ort alos 

Myers, Myer, 50, 51 

Myers, Samuel, 50, 51, 57, 58, 69, 77, 
Port. 159 

Myers, Theodore, estate of, 75 

Myers, Theodorus Bailey, 38 

Myers, William, 51, 57 

Mcllwain, Mrs. George Knox M., 77 


Nathan, Clarence S., 65 

Nathan, Edgar J., 74 

Nathan, Miss Rachel Gratz, 45, 66, 69, 71, 
155 

Nathan, Seixas, 65 

Nathan, Simon, 65 

Nathan, Mrs. Simon (Grace Seixas), 65 
ew York City Hall, 68 

oah, Mordecai M., 36, 37, 65, Port. 129 
Joah, Mrs. Mordecai M., 66 

oah, Robert L., 37, 65, 66, 129 

ones, Miss, 71 

ones, Major Benjamin, 35, 42, 77 
Nones, Mrs. Benjamin (Miriam Marks), 77 
Nones, Miriam, 35 

Nones, Walter M., 77 


LILIA SPOS 


O’Neil, Mrs. Richard Frothingham, 50, 68, 
69 

O’Neill, I. A., 60, 70 

Oppenheim, Samuel, 39 


-<fif 196 heen 


INDEX 


Park, Lawrence, 16, 17, 26, 34, 48, foot- 
note 49, 63, 71, 72 

Peale, Charles Willson, 22, 23, 24, 25, 34, 
HomOO sos, 105, 14.1 

Peale, James, 66 

Peale, Rembrandt, 22, 25, 61, 67, 109 

Pearce, Mary, 25 

Pennsylvania Academy of Fine Arts, 53, 67, 
8572, 167 

Petticolas, Edward F., 67 

Philadelphia, Jacob, 77 

Phillips, Aaron, 77 

Phillips, Mrs. Beatrice, 75 

Phillips, Jonas, 22, 23, 24, 25, 66, Port.103 

Phillips, Mrs. Jonas (Rebecca Machado) 
ease 24, 25, 66, Port. 105 

Phillips, Eon. N. Taylor, 8, 10, 15, 16, 
17, 18, 62, 65, 72, 74, 76, 77, 78; 83, 
85, 87, 89, 91, 93 

Phillips, Naphtali, 17, 65 

Phillips, Philip, 58 

Phillips, Rachel, 23 

Polk, Giarles Peale, 34, 67, 121 

Pollack, Mrs. Francis D., 73 

Preston, Mrs. William C., 51, 68, 161 


Ramage, John, 67 

Read, Thomas Buchanan, 24, 67, 91, 107 

Redwood Library, Newport, R. I., 49, 69, 
78, 157 

Repplier, Mrs. George, 59 

Reynolds, Sir Joshua, 67 

Rieman, Mrs. Charles, 12 

Rivera, Jacob Rodriguez, 49, 50, 69, Port. 
157 

Rodman, Miss Emma, 49 

Rosenbach, Dr. A-S, W., 18, 31, 76, 78 


Salomon, Deborah, 77 

Salomon, Hyam, 35 

Samuel, Bunford, 42, 64, 66, 73 

Samuel, Frank, 77 

Paniuel, |) Bunford, 30, 31, 32, 63, 76, 
115,141 

Sartain, John, 56 

Savage, Edward, footnote 49, 50 

Schuyler, Mrs. Philip (Shinah Simon), 78 

Scott, General Winfield, 15 

Seixas, ?, 68 

Seixas, Captain Abraham, 78 

Seixas, Benjamin Mendes, 18 


Seixas, Rev. Gershom Mendes, 18, 78 

Seixas, Isaac Mendes, 17 

Seixas, Mrs. Isaac Mendes (Rachel Levy) 
12, 10;:17, 92, Lott, 64 

Seixas, M. B. 65 

Seixas, Moses, 17, 18 

Seixas, Rachel Hannah, 78 

Sharples, James, 34, 35, 68 

Shearith Israel Congregation, 8, 9, 10, 78 

Sheftall, Mordecai, 78 

Sheftall, Mrs. Mordecai (Frances Hart) 
67, 78 

Sheftall, Sheftall, 78 

Shegogue, J. H., 68 

Simon, Joseph, 54, 60, 78 

Simson, Joseph, 67 

Smibert, John, 68 

Solomon, Joseph, 43, 44, 72, Port. 151 

Solomons, Levy, 78 

Spencer, F. R. 68 

Stles,-N7zra.- 19, 20,21, 37, 48, Port; 97 

Strycker, Jacobus Gerritsen, 16 

Stuart, Gilbert, frontispiece, 19, 43, 47, 
48, 49, 50, 51, 52, 53, 54, 55, 57) 58; 
Go OOe7 14157, 150.161," 1037-105, 
107, 100, 177,173 

Stuart, Jane, 50 

Sully, Thomas, 16, 47, 55, 56, 57, 58, 59, 
GO, O1g0 25070; 71, 17 7ial-7 0, 181s 183, 
185, 187, 189 


Mpheus, |eremiian,. 43, 34,072, l 79110 
Thompson, George, 72 

Tisdale, Elkanah, 38, 72 

Touro, Abraham, frontispiece, 48, 49, 69 
Touro Infirmary, New Orleans, 78 
Touro, Isaac, 48, 69 

Touro, Judah, 48, 78 

Trott, Benjamin; 43, 72; 147, 149, 151 


Valentine, Mrs. James Alden, 27, 28, 29,76 
Vanderlyn, Pieter, 16 
Virginia State Library, 51 


Weis, Samuel W., 69 

West, Benjamin, 22, 25, 26, 55 

Wharton, Anne Hollingsworth, 14 

Whichotes, 14 

White’s ‘Historical Collections of Geor- 
gia,” 78 

Wollaston, John, 16, 17, 18, 19, 72 

Wood, Joseph, 72 


3! ae 
~-alt 197 


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